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Mural  Painting  in  The 


Boston  Public  Library 


BY  ERNEST  F.  FENOLLOSA 


Those  interested  in  the  subject  of  mural 
decoration  will  find  in  Mr.  Fenollosa’s 
essay  not  only  an  admirable  criticism  of 
the  work  of  Mr.  Abbey,  Mr.  Sargent  and 
Puvis  de  Chavannes,  but  a noteworthy 
explanation  of  the  importance  and  value 
of  mural  painting  to  the  artistic  develop- 
ment of  the  country.  Printed  on  hand- 
made paper.  Sent  upon  receipt  of  the 
price,  25  cents,  by  the  publishers : 


Curtis  & Cameron 


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THE  COPLEY  PRINTS 

MESSRS.  CURTIS  & CAMERON  beg  to  announce  important  additions  to 
their  COPLEY  PRINTS,  continuing  the  series  begun  in  1895  with  their  publi- 
cation of  Mr.  Sargent’s  mural  paintings  in  the  Boston  Public  Library. 
Having  received  the  substantial  encouragement  of  the  public,  it  is  the  inten- 
tion of  the  publishers  to  reproduce,  in  the  permanent  and  beautiful  form  of 
photography  peculiar  to  the  process  used,  all  the  best  art  to  be  found  in  this 
country. 

These  COPLEY  PRINTS  are  published  with  the  assistance  of  the  artists 
themselves,  and  are  issued  only  after  their  approval  of  the  final  proofs. 
Messrs.  Curtis  & Cameron  are  the  sole  authorized  publishers. 

The  list  now  includes,  besides  the  work  of  the  artists  in  the  NEW  LIBRARY 
OF  CONGRESS,  works  by  Edwin  A.  Abbey,  Edwin  H.  Blashfield,  Robert 
Blum,  Puvis  de  Chavannes,  Kenyon  Cox,  John  La  Farge,  Frederick  Mac- 
monnies,  John  S.  Sargent,  Edward  Simmons,  Abbott  Thayer,  C.  Y.  Turner, 
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IN  THE  NEW 


By  permission  of  the  artists,  and  with 
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ii 


SECOND  EDITION  WITH  MAP. 


1/iMr.  NTr*  A NT  CTT  A STORY  of  old  VIRGINIA  and 
tv  1 1>I  VJ  tH  1 I THE  MASSACHUSETTS  BAY  « « « 

A New  Historical  Novel  by  F.  J.  Stimson  (J.  S.  of  Dale). 


“ We  are  not  afraid  to  predict  that  “ King  Noanett  ” will  take  its  place  in  the  hearts  of  the  people  with  such 
books  as  ‘ Lorna  Doone’  and  ‘ The  Little  Minister.’  A most  noble  book.” 

— James  MacArthur,  in  the  September  Bookman. 

“ It  is  marked  in  conception  and  in  execution  alike  by  a trait  which,  without  reserve,  we  may  name  beauty. 
The  quality  of  charm  which  pervades  the  romantic  tales  of  the  Old  World  is  just  what  distinguishes  ‘ King  No- 
anett.’ The  real  spirit  of  the  book,  the  temper  which  gives  it  inevitable  romantic  charm,  comes  from  no  docu- 
ments at  all,  but  straight  from  nature.  The  beauty  of  this  book  in  its  conception  is  like  the  beauty  of  our  woods 
and  our  fields,  of  our  flowers  and  of  our  streams.  It  is  native.  That  is  why  we  love  it.  Subtly  rhythmical  ca- 
dences which  belong  to  the  essence  of  lyric  prose.  In  substance  and  in  style  alike,  then,  we  may  welcome  ‘ King 
Noanett’  as  a thing  of  beauty.” 

— Prof.  Barrett  Wendell,  of  Harvard  University,  in  the  Boston  Transcript. 

“ A book  which  it  is  hard  to  put  down  until  the  end  is  reached.  The  climax  is  a triumph  of  clever  manipulation. 
It  is  a credit  to  American  letters  to  have  produced  such  a book.  We  trust  that  no  one  will  miss  the  opportunity 
of  making  the  acquaintance  of  ‘ King  Noanett.’  ” — New  York  Examiner. 

“ We  have  read  few  fictions  whose  interest  was  so  steady,  so  continuous,  and  so  absorbing.  ‘ King  Noanett ' 
must,  however,  be  read  in  full  to  be  justly  appreciated.  We  sincerely  commend  the  story  to  our  readers.” 

— N.  Y.  Independent. 

“ And  who  but  an  Irishman  could  have  said  ‘ Heigho!  ’Tis  the  women  who  make  the  trouble  of  this  life  — 
and  life  worth  the  trouble.’  Mr.  Stimson  has  done  his  best  work  in  ‘ King  Noanett,’  and  in  Miles  Courtenay 
he  has  added  an  immortal  figure  to  the  characters  of  fiction.”  — James  Jeffrey  Roche,  in  The  Pilot. 

“ ‘ King  Noanett  ’ is  a book  designed  for  all  ages.”  — N.  Y.  Tribune. 

“ Mr.  Stimson  writes  as  good  a story  as  Du  Maurier.”  — Brooklyn  Eagle. 

“ So  far  as  American  fiction  is  concerned  ‘ King  Noanett  ’ is  far  and  away  the  book  of  the  year.” 

Boston  Transcript. 

Price,  bound  in  cloth,  $2.00;  in  vellum,  $10.00. 


Wives  in  Exile  : A Comedy  in  Romance,  by  William  Sharp. 

**  The  conception  of  ‘ Wives  in  Exile  ’ is  one  that  cannot  fail  to  win  an  immediate  and  staying  interest.” 

— Boston  Courier. 

“ The  book  ought  to  prove  a panacea  for  the  blues.”  — Boston  Journal. 

“ Several  of  the  descriptions  of  sea  and  shore  are  little  less  than  masterpieces.”  — Boston  Transcript. 

Price  $1.50. 

The  Forge  in  the  Forest.  A Novel,  by  Charles  G.  D.  Roberts. 

Being  the  narrative  of  the  Acadian  ranger,  Jean  de  Mer,  Seigneur  de  Briart,  and  how  he  crossed  the  Black 
Abbe;  and  of  his  adventures  in  a strange  fellowship.  With  seven  full-page  illustrations  by  Henry  Sandham,  R. 

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By  Charles  G.  D.  Roberts,  net,  $2.00. 

Earth’s  Enigmas.  A volume  of  stories.  By 
Charles  G.  D.  Roberts,  $1.25. 

Diomed;  the  Life,  Travels,  and  Observations 
of  a Dog.  By  Hon.  John  Sergeant  Wise,  with  100 
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A Bad  Penny.  By  John  T.  Wheelwright.  With 
ten  full-page  illustrations  by  F.  G.  Atwood,  $1.25. 

Vera  Vorontzoff.  By  Sonya  Kovalevsky:  ren- 
dered into  English  by  Anna  von  Rydingsvard 
(Baroness  von  Proshwitz),  net,  $1.25. 

Low  Tide  on  Grand  Pre.  A book  of  Lyrics.  By 
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Behind  the  Arras.  A Book  of  the  Unseen.  By 
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Two  Unpublished  Essays.  By  Ralph  Waldo 
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Everett  Hale,  $1  00. 

The  Gold  Fish  of  Gran  Chimu.  By  Charles  F. 
Lummis.  With  seven  full-page  illustrations  by 
Henry  Sandham,  R.C.A.,  $1.50. 

Magda.  By  Hermann  Sudermann.  Translated  by 
Charles  Edward  Amory  Winslow.  With  a cover- 
design  and  title-page  by  Louis  J.  Rhead,  $1.00. 

The  Love  Story  of  Ursula  Wolcott.  Being  a 
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land. By  Charles  Knowles  Bolton.  With  illus- 
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Fairy  Tales.  By  Mabel  Fuller  Blodgett.  With 
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’ 96  Charades.  By  Norman  D.  Gray,  $1.00. 

Dr.  Fermont’s  Fantasy,  and  Other  Stories.  By 

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James  Clarence  Mangan.  His  selected  poems, 
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LAMSON,  WOLFFE  AND  COMPANY, 

LONDON,  NEW  YORK, 

iii 


BOSTON, 


Art  Instruction 


IN 

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Public  Schools. 


The  Prang  Courses  of  Art  Instruction  are  now  followed  in  the  best  schools 
in  all  parts  of  the  country.  The  reasons  for  this  are : 

1.  They  represent,  not  simply  the  individual  theories  of  someone  person,  but  the  combined 
experience  and  judgment  of  the  most  successful  and  best  known  teachers  and  directors  of  Drawing 
in  the  United  States. 

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They  meet  satisfactorily  all  varieties  of  school  conditions. 

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Color  in  harmony  with  the  most  advanced  Kindergarten  methods. 

5.  They  develop  the  work,  year  by  year,  in  accordance  with  the  best  educational  principles, 
to  the  point  of  entrance  into  the  high  school  and  manual  training  school. 


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text-books  for  pupils,  is  cordially  invited  by  the  publishers. 


The  Prang  Educational  Company, 

| Boston,  New  York,  Chicago. 

L.lllt  w— Mtf m MH  ■ MH— W— 


r 

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204  FIFTH  AVENUE,  jt 
Madison  Square,  NEW  YORK. 


f)igb-Ctass  Oil  and 

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iv 


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W ebster’s 


►O-O-O-O-OO-OO-OO-O-Q 

International 


The  One  Great  Standard  Authority , 

So  writes  Hon.  D.  J.  Brewer, 

Justice  U.  S.  Supreme  Court. 


Dictionary 


IT  IS  A THOROUGH  REVISION  OF  THE  UNABRIDGED, 

The  purpose  of  which  has  been  not  display  nor  the  provision  of  material  for  boastful 
and  showy  advertisement,  but  the  due,  judicious,  scholarly,  thorough  perfecting  of  a 
work  which  in  all  the  stages  of  its  growth  has  obtained  in  an  equal  degree  the  favor 
and  confidence  of  scholars  and  of  the  general  public. 

IT  IS  THE  BEST  FOR  PRACTICAL  PURPOSES,  BECAUSE 

Words  are  easily  found  * **  Pronunciation  is  easily  ascertained, 

Meanings  are  easily  learned  * * * The  growth  of  words  easily  traced, 
and  because  excellence  of  quality  rather  than  superfluity  of  quantity  char= 
acterizes  its  every  department.  * * * GET  THE  BEST. 

G.  & C.  Merriam  Co.,  Publishers, 

Pamphlet  free.  Springfield,  Mass.,  U.  S.  A. 

O-o-oo-ooooooo-o-ooo-oo-o-ooooh 


Che  forum. 

A Literary  Tower  of  Strength. 

Unquestionably  the  ablest,  most  carefully  edited,  and  most  comprehensive  magazine  of  its  class  in  the  world. 
Read  more  widely  to-day  than  ever  before  — Why  ? Because  it  brings  its  readers  in  touch  with  the  brightest 
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JT  Brilliant  Array  of  eminent  Contributors  for  i$$7. 

The  series  of  articles  on  The  Problem  of  Elementaiy  Education,  by  Dr.  J.  M.  Rice,  which  have  been  in 
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OF  ALL  DESCRIPTIONS  AND  ANY  SIZE  MADE  TO  ORDER 
FOR  THE  HOLDING  OF  PRINTS  AND  PHOTOGRAPHS. 

HENRY  BLACKWELL, 


vi 


Sixth  Year.  Criticism,  Revision,  Copying,  Disposal.  All  work  between  Author  and  Publisher. 

References  : Noah  Brooks,  Mrs.  Deland,  Mrs.  Burton  Harrison,  Mrs.  Julia  Ward  Howe,  W.  D.  Howells,  Mrs. 
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viii 


Parents  who  seek 


Waban  School. 

A Preparatory  School  for  Boys. 

Waban  — ten  miles  from  Boston  — is  within  the 
limits  of  the  city  of  Newton,  and  is  one  of  the  most 
charming  of  Boston’s  suburbs.  There  are  fifty  trains 
daily  to  Boston,  making  the  school  especially  conven- 
ient for  day  pupils  residing  in  the  city  or  on  either 
branch  of  the  Brookline  circuit  road.  As  a boarding 
school,  Waban  combines  the  advantages  of  a country 
home  with  the  opportunities  for  culture  afforded  by  a 
great  city.  As  a day  school,  it  offers  to  boys  who  re- 
side in  the  city  the  privilege  of  spending  the  day  in  the 
country  with  facilities  for  boating,  tennis,  track  ath- 
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director. 

THE  COTUIT  COTTAGES. 

A Summer  School  of  Secondary  Instruction. 
COTUIT,  MASS,  1897. 

During  the  summer  of  1897.  instruction  in  all  the 
subjects  necessary  for  admission  to  the  best  colleges 
and  scientific  schools  will  be  given  at  Cotuit,  Massa- 
chusetts, under  the  direction  of  Principal  Charles  E. 
Fish.  The  courses  of  instruction  are  for  the  benefit  of 
four  classes  of  students:  — 

1.  Candidates  who  have  received  conditions  at  the 
entrance  examinations. 

2.  Candidates  who  have  postponed  examinations 
until  September. 

3.  Students  in  secondary  Schools,  who,  by  reason  of 
illness  or  other  cause,  have  deficiencies  to  make  up. 

4.  Students  in  Secondary  Schools  who  wish  to  an- 
ticipate studies  and  save  time  in  the  preparation  for 
college. 

For  descriptive  circular  address 

C.  E.  FISH,  Principal, 

The  Waban  School,  Waban,  Mass. 


the  best  education  for  their 
daughters,  will  do  well  to  write 
for  the  manual  of 

The  Cambridge  School 

of  which  Mr.  Arthur  Gilman 
is  the  Director.  The  address 
is  simply  Cambridge,  Mass. 
The  school  is  “founded  upon 
experience  and  suited  to  the 
capacities  of  the  great  variety 
of  pupils.”  No  “fads”  are  in- 
dulged in.  The  training  is 
intended  to  “raise  the  ideal 
of  life.” 


& as 

aS 

® as 

?IS  &S 

| fofiton  Kntoe&ity  fan) 


* 

as 

as 

as 

as 

as 

as 

as 

as 

as 

as 

as 

1 

8 

as 

as 

m 


Scljool, 


Ashburton  Place, 


BOSTON. 


For  catalogue  and  circular,  address  the  Dean, 


EDMUND  H.  BENNETT,  LL.D. 


\ 636 


1897 


HARVARD  UNIVERSITY 


COMPREHENDS 

Besides  its  Libraries  and  Museums  and  its  Observatory 

THE  FOLLOWING  DEPARTMENTS  FOR  STUDENTS 

Harvard  College  (degree  A.  B.),  Lawrence  Scientific  School 
(degree  S.  B.),  Graduate  School  (degrees  A.  M.,  Ph.  D.,  S.  D.), 
the  Divinity  (D.  B.),  Law  (LL.  B.),  Medical  (M.  D.),  Dental 
(D.  M.  D.),  Veterinary  (M.  D.  V.),  and  Agricultural  (B.  A.  S.) 
Schools. 

ADMISSION  EXAMINATIONS 


are  held  in  June  in  the 

Quincy,  Mass. 

Andover,  Mass. 

Groton,  Mass. 

Southborough,  Mass. 
Worcester,  Mass. 

Exeter,  N.  H. 

Concord,  N.  H. 

Portland,  Me. 

Lakeville,  Conn. 

New  York,  N.  Y. 


following  cities : — 

Garden  City,  N.  Y. 

Albany,  N.  Y. 

Buffalo,  N.  Y. 
Lawrenceville,  N.  J. 
Philadelphia,  Pa. 
Washington,  D.  C. 
Cleveland,  Ohio. 

Cincinnati,  Ohio. 

Chicago,  111. 

Minneapolis,  Minn. 

Also  in  Cambridge  and  Boston. 


St.  Louis,  Mo. 
Kansas  City,  Mo. 
Omaha,  Neb. 
Denver,  Col. 

San  Francisco,  CaJ. 
Belmont,  Cal. 
Portland,  Oregon. 
Bonn,  Germany. 
Paris,  France. 
Tokyo,  Japan. 


The  terms  of  admission,  fees,  expenses  and  privileges  in 
any  or  all  of  the  departments  of  the  University  may  be  learned 
from 

DESCRIPTIVE  PAMPHLETS 

which  may  he  had  on  application  to  the  Corresponding  Secretary 
of  Harvard  University,  Cambridge,  Mass. 

X 


THE  BROWNE  AND  NICHOLS 

SCHOOL  FOR  BOYS, 

20  Garden  St.,  Cambridge,  Mass. 

Eight  years'  continuous  course  : three  years,  gram- 
mar; five  years,  high  school.  Preparation  for  College 
or  Scientific  School  by  any  of  the  various  methods. 

Classes  limited  to  fifteen.  Boys  not  younger  than 
nine  received  in  the  grammar  grade;  French' begun  at 
once;  Latin,  in  the  second  year;  Algebra  or  Con- 
structional Geometry,  in  the  third,  or  earlier. 

Organization  departmental,  so  that  in  nearly  all 
subjects  each  pupil  has  continupus  work  throughout 
the  course  with  the  same  instructor.  Pupils  in  advanced 
sections  can  thus  enter  college  one  year  earlier  than 
the  rest,  or  do  their  Freshman  year’s  work  in  the 
elective  courses  of  their  last  year  in  school. 

The  School  Building  is  new,  designed  to  secure 

The  most  approved  ventilation  and  abundance  of  light, 

and  fully  equipped  with  the  latest  appliances  in  Labor- 
atories, Conservatory,  and  Gymnasium. 

The  situation  of  the  School  enables  it  to  offer  special 
facilities  for  the  education  of  the  younger  sons  of 

Families  temporarily  residing  in  Cambridge 

during  the  college  course  of  the  older  sons.  The  School 
has  the  advantage  of  the  free  public  lectures  given 
nearly  every  night  at  Harvard  College,  and  of  the 
various  Museums  near  by,  whose  valuable  collections 
are  used  to  supplement  school  work  in  Science,  History, 
and  Literature. 

A home  for  seven  boys  is  provided  at  No.  22  Garden 
St.,  in  one  of  the  most  healthful  and  attractive  parts  of 
Cambridge.  Catalogues,  giving  terms,  course  of  study, 
etc.  on  application. 


Windsor  Hall  School, 

WABAN,  MASS. 

The  chief  features  are : 

1.  Thorough  preparation  of  girls  for  Radcliffe, 
Wellesley,  Smith,  and  other  colleges  in  the 
shortest  possible  time. 

2.  An  opportunity  for  girls,  who  for  illness  or 
other  reasons  need  individual  instruction. 

3.  Elective  and  strong  scientific  courses. 

4.  Attractive  home  life;  the  number  of 
pupils  in  the  house  is  limited  to  twelve. 

5.  Healthy  country  life  with  outdoor  sports. 

6.  Easy  access  to  the  advantages  of  Boston. 
Waban  is  in  Newton,  ten  miles  from  Bos- 
ton, with  fifty  trains  each  way  daily,  on 
the  Newton  Circuit  Branch  of  the  Boston 
and  Albany  railroad. 

DR.  CHARLES  H.  CLARK,  Principal. 


PRATT  INSTITUTE, 

Brooklyn,  New  York. 


HIGH  SCHOOL  — A four  years’  course  for  both  sexes,  combining  drawing  and  manual  work  with  the 
usual  studies  of  a high  school  or  academy.  Entrance  examinations  September  14  and  15;  applicants  for 
classes  beginning  the  second  half  year,  February  8 and  9. 

DEPARTMENT  OF  FINE  ARTS  — Normal  art  course;  regular  art  course,  including  general  free- 
hand drawing,  cast,  life  and  portrait  drawing,  oil  and  water-color  painting,  composition,  anatomy, 
sketching,  history  of  art;  also  courses  in  architecture, -applied  design,  clay,  modeling  and-wood. carving. 

DEPARTMENT  OF  DOMESTIC  ART  — Normal  domestic  art  course;  general  course;  sewing; 
dressmaking;  millinery;  drawing;  art  needlework;  physical  culture. 

DEPARTMENT  OF  DOMESTIC  SCIENCE — Normal  domestic  science  course;  general  course; 
household  science;  household  economy;  emergencies;  home  nursing  and ‘hygiene;  public  hygiene; 
food  economics  ; marketing  lectures  ; cookery,  preserving  and  pickling  ; waitresses’  course  ; laundry  work. 

DEPARTMENT  OF  SCIENCE  AND  TECHNOLOGY  — Normal  manual  training  course;  draw- 
ing and  machine  design;  applied  electricity;  mechanical  drawing;  arithmetic;  algebra;  geometry; 
physics;  chemistry;  steam  and  the  steam  engine;  strength  of  materials;  mechanism;  carpentry; 
machine  work;  plumbing;  house,  sign  and  fresco  painting. 

DEPARTMENT  OF  KINDERGARTENS  — Normal  kindergarten  course;  mothers’  course;  nurses’ 
course ; special  courses. 

DEPARTMENT  OF  LIBRARIES  — New  Library  Building;  free  library,  reading  and  reference  rooms. 
Classes  in  library  training,  including  library  economy  ; cataloguing  ; literature  and  languages  ; business. 


For  further  information  or  for  application  blanks  apply  at  the  general  office  of  the  institute,  Ryerson 
street. 

FREDERIC  B.  PRATT,  Secretary, 
xi 


LIBRARIES 


Out*  topically  arranged  General  Library  List  of  the 
Standard  and  New  Books  of  all  publishers  revised 
to  date  has  just  left  the  press.  It  will  be  found  of 
great  use  by  Librarians  and  all  others  having  occasion 
to  select  titles,  and  will  be  mailed  free  on  application. 
Estimates  on  proposed  additions  to  public  and  private 
libraries  promptly  furnished  by 

The  Baker  & Taylor  Co., 


WHOLESALE  BOOKS,  & S S * A*  A* 
5 AND  7 EAST  SIXTEENTH  ST.,  N.  Y. 
Between  Broadway  and  Fifth  Ave.  *5* 


! 

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m— m— -w— m~nm— »«♦— w— »m— w mi  "Hi 

The  Paintings  by  the  following  Artists 

IN  THE 

Library  of  Congress 

ARE  REPRODUCED  IN 

THE  COPLEY  PRINTS 


! 

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| 

£ 

! 

! 

! 

L 


JOHN  W.  ALEXANDER, 
G.  R.  BARSE,  Jr., 

FRANK  W.  BENSON, 
EDWIN  H.  BLASHFIELD, 
KENYON  COX, 
FREDERICK  DIELMAN, 
R.  L.  DODGE, 

ELMER  E.  GARNSEY, 
CARL  GUTHERZ, 

E.  J.  HOLSLAG, 

W.  A.  MACKAY, 


F.  C.  MARTIN, 

GEORGE  W.  MAYNARD, 
WALTER  McEWEN, 

GARI  MELCHERS, 

CHARLES  SPRAGUE  PEARCE, 
ROBERT  REID, 

WALTER  SHIRLAW, 

EDWARD  SIMMONS, 

W.  B.  VAN  INGEN, 

ELIHU  VEDDER, 

H.  O.  WALKER. 


The  Prints  are  published  in  various  sizes,  at  corresponding  prices.  Descrip- 
tive catalogue  sent  upon  receipt  of  four  cents  in  stamps,  by  the  publisheis: 


CURTIS  & CAMERON 


Pierce  Building  (opposite  Public  Library),  Boston 


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xii 


J,  FRANKLIN  CURRIt^ 

Ftoximry,  teas#. 


THE  NEW  LIBRARY  OF  CONGRESS. 


HANDBOOK 


OF  THE  NEW 


LIBRARY  OF  CONGRESS 


COMPILED  BY  HERBERT  SMALL 


WITH  ESSA  YS  ON  THE 

ARCHITECTURE,  SCULPTURE  and  PAINTING 

By  CHARLES  CAFFIN 


AND  ON 


THE  FUNCTION  OF  A NATIONAL  LIBRARY 
By  AINSWORTH  R.  SPOFFORD 


BOSTON 

CURTIS  & CAMERON 

*897 


COPYRIGHT  1897  BY  CURTIS  & CAMERON 


The  Heintzemann  Press 
boston 


PREFACE. 


The  intention  of  this  Handbook  is  to  furnish  such  an  account  of  the  new  building 
of  the  Library  of  Congress  as  may  prove  of  interest  to  the  general  reader,  and  at  the 
same  time  serve  as  a convenient  guide  to  actual  visitors.  To  this  latter  end,  a 
system  of  headings  and  sub-headings  has  been  introduced,  and  the  building  has  been 
described  throughout  in  the  order  in  which  a visitor  might  naturally  walk  through  it. 
Criticism  has  been  avoided  in  the  general  description,  but  a brief  survey  of  the 
artistic  qualities  of  the  Architecture,  Sculpture,  and  Painting  is  given  in  Mr.  Caffin’s 
supplementary  essay. 

The  writer  had  intended  at  first  to  give  rather  a full  account  of  the  collections  of 
the  Library,  of  the  Smithsonian  system  of  exchange,  of  the  operation  of  the  copy- 
right law,  and  of  the  general  system  under  which  the  Library  was  carried  on.  So 
much  of  what  he  might  have  thus  described,  however,  would  have  been  entirely 
changed,  and  so  much  more  considerably  modified,  by  the  new  methods  of  adminis- 
tration made  possible  and  necessary  by  the  new  building,  that  it  was  decided  to  pass 
lightly  over  all  matters  connected  with  the  administration  of  the  Library.  Should 
another  edition  of  the  Handbook  be  called  for,  it  is  hoped  that  there  will  be  an 
opportunity  to  supply  this  omission.  In  the  meantime  it  will  be  found  that  Mr. 
Spofford’s  paper  on  the  Function  of  a National  Library  will  serve  to  indicate  the 
general  scope  of  the  institution. 

The  writer  desires  to  express  his  great  obligation,  for  much  information  and 
courtesy,  to  Mr.  Bernard  R.  Green,  in  charge  of  the  Library  during  the  time  that 
this  book  was  preparing,  to  Mr.  Edward  Pearce  Casey,  and  to  Mr.  Spofford.  With- 
out their  assistance  the  book  could  hardly  have  been  written.  Thanks  are  due, 
also,  to  many  of  the  individual  artists  for  their  courtesy  in  explaining  the  meaning 
and  application  of  their  work  — and  in  particular  to  Mr.  Elmer  E.  Garnsey,  for  a 
great  deal  of  painstaking  assistance. 

H.  S. 


Copyright  Notice  : — In  addition  to  the  general  copyright  of  this  Handbook, 
which  covers  the  text  and  illustrations,  the  engravings  of  the  paintings  in  the 
following  pages  are  from  Copley  Prints,  copyright  1896  and  1897,  by  Curtis  & 
Cameron,  the  Prints  being  made  directly  from  the  original  paintings,  copyright 
1896  and  1897  by  the  several  artists. 


TABLE  OF  HEADINGS. 


History  of  the  Library  

The  Burning  by  the  British  Troops  .... 
The  Acquisition  of  Jefferson’s  Library 
Mr.  Spofford’s  Administration  ..... 
The  Old  Quarters  in  the  Capitol  .... 

The  Agitation  for  a New  Building  .... 

The  New  Building 

The  General  Decoration;  Mr.  Garnsey  and  Mr.  Weinert 
The  General  Character  of  the  Building 

The  Exterior  of  the  Building 

The  Fafade  

The  Entrance  Pavilion 

Mr.  Hinton  Perry’s  Fountain  *..... 
The  Ethnological  Heads  ...... 

The  Portico  Busts 

Mr.  Pratt’s  Spandrel  Figures  ..... 

The  Main  Entrance 

Mr.  Warner’s  Bronze  Doors  ..... 
Mr.  Macmonnies’s  Bronze  Door  ..... 

Main  Entrance  Hall  . 

The  Vestibule  • 

The  Stucco  Decoration  of  the  Vestibule 

The  Marble  Flooring  ....... 

The  Staircase  Hall  

The  Commemorative  Arch  ...... 

Mr.  Warner’s  Spandrel  Figures  ..... 

Mr.  Martiny’s  Staircase  Figures  ..... 

The  Ceiling  of  the  Staircase  Hall 

The  Mosaic  Vaults  of  the  First  Floor  Corridors 

Mr.  Pearce’s  Paintings  ...... 

Mr.  Walker’s  Paintings  ...... 

Mr.  Alexander’s  Paintings  ...... 

Mosaic  Decorations  of  the  East  Corridor 

The  Librarian’s  Room  ...... 

The  Lobbies  of  the  Rotunda  . . . . , 

Mr.  Vedder’s  Paintings  ...... 

The  Second  Floor  Corridors  ..... 

The  Decoration  of  the  Vaults  ..... 

The  Printers’  Marks  ....... 

Mr.  Hinton  Perry’s  Bas-reliefs 

Mr.  Shirlaw's  Paintings  ...... 

Mr.  Reid’s  Paintings  ... 

Mr.  Barse’s  Paintings  ....... 

Mr.  Benson’s  Paintings  ...... 

The  Decoration  of  the  Walls  . . . . . 

Mr.  Maynard’s  Pompeiian  Panels  . . . . 

The  Inscriptions  along  the  Walls  ..... 


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Page 


The  Entrance  to  the  Rotunda 
Mr.  Van  Ingen’s  Paintings  . 

Mr.  Vedder’s  Mosaic  Decoration  . 

The  Rotunda 

The  Importance  of  the  Rotunda  . 

The  General  Arrangement  . 

The  Alcoves  ..... 

The  Symbolical  Statues 

The  Portrait  Statues  .... 

Mr.  Flanagan’s  Clock  .... 

The  Lighting  of  the  Rotunda 

The  Semicircular  Windows 

The  Dome 

The  Stucco  Ornamentation  . 

Mr.  Blash field’s  Paintings 
The  Rotunda  Color  Scheme  . 

Provision  for  Readers  .... 
The  Book-carrying  Apparatus 
Connection  with  the  Capitol. 

The  Book-stacks 

Arrangement  and  Construction 
Ventilation  and  Heating 
The  Shelving  ..... 
Lighting  ...... 

The  Lantern 

The  Rectangle 

Southeast  Gallery 

Mr.  Cox’s  Paintings  .... 
The  Pavilion  of  the  Discoverers  . 

Mr.  Pratt’s  Bas-reliefs  .... 

Mr.  Maynard’s  Paintings 
The  Pavilion  of  the  Elements 
Mr.  R.  L.  Dodge’s  Paintings 
The  Pavilion  of  the  Seals 

Mr.  Van  Ingen’s  Paintings  . 

Mr.  Garnsey’s  Ceiling  Panel  . 

The  Pavilion  of  Art  and  Science  . 

% Mr.  W.  de  L.  Dodge’s  Paintings  . 

The  Northwest  Gallery 
Mr.  Melchers’s  Paintings 
The  Rectangle  : First  Floor  Corridors 
Mr.  McEwen’s  Paintings 
The  House  Reading  Room 
Mr.  Dielman’s  Mosaics 
Mr.  Gutherz’s  Paintings 
The  Senate  Reading  Room 
The  North  Corridor  .... 

Mr.  Simmons’s  Paintings 

Special  Rooms 

The  Basement 

The  Architecture,  Sculpture  and  Painting 
The  Function  of  a National  Library 


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THE  NEW 


LIBRARY  OF  CONGRESS 


IN  WASHINGTON 


BY  HERBERT  SMALL 


THE  Library  of  Congress  in  Washington  is  not  the  mere  reference 
library  for  the  legislative  branch  of  the  Government  that  its  name 
would  imply.  It  is,  in  effect,  the  library  of  the  whole  American 
people,  directly  serving  the  interests  of  the  entire  country.  It  was, 
it  is  true,  founded  for  the  use  of  the  members  of  the  Senate  and  House  of 
Representatives ; but,  although  the  original  rule  still  holds  good  that  only  they 
and  certain  specified  Government  officials  may  take  books  away  from  the 
building,1  the  institution  has  developed,  especially  during  the  last  quarter  of  a 
century,  into  a library  as  comprehensively  national  as  the  British  Museum  in 
London,  the  Bibliotheque  Nationale  in  Paris,  or  the  Imperial  Library  in  Vien- 
na. It  is  more  freely  open  to  the  public  than  any  of  these,  everyone  of  suit- 
able age  being  permitted  to  use  its  collections  without  the  necessity  of  a ticket 
or  formal  permission,  while  in  scope  it  is  their  equal,  however  much  it  may  for 
the  time  being  be  inferior  to  them  in  certain  branches  of  learning.  Its  aim  in 
the  accumulation  of  books  is  inclusive  and  not  exclusive,  as  Mr.  Spofford  ex- 
plains elsewhere  in  this  Handbook,  in  his  article  on  The  Function  of  a Na- 
tional Library. 

This  development  amounts  almost  to  a change  of  front,  in  spite  of  the  fact 
that  the  original  purpose  of  the  Library  as  an  aid  to  the  legislation  and  debates 

1 Those  allowed  to  take  books  from  the  building  are : the  President ; Vice-President ; Senators, 
Representatives,  and  Delegates  in  Congress  ; Cabinet  Officials ; the  Justices,  Reporter,  and  Clerk  of 
the  Supreme  Court ; the  Judges  and  Clerks  of  the  Courts  of  the  United  States  in  the  District  of  Co- 
lumbia ; representatives  in  Washington  of  foreign  governments ; the  Solicitor  General  and  Assistant 
Attorneys-General ; the  Secretary  of  the  Senate;  the  Clerk  of  the  House  of  Representatives;  the 
Solicitor  of  the  Treasury  ; the  Disbursing  Agent  of  the  Committee  on  the  Library  ; former  Presidents 
of  the  United  States  ; the  Chaplains  of  the  two  Houses  of  Congress;  the  Secretary  and  Regents  of 
the  Smithsonian  Institution ; the  Members  and  Secretary  of  the  Interstate  Commerce  Commission  ; 
and  the  Chief  of  Engineers  of  the  Army.  No  one,  however,  not  even  these  officials,  may  take  away  any 
manuscript  or  map,  or  any  book  of  special  value  and  rarity.  Books  are  delivered  to  the  order  of  any 
of  the  persons  having  the  special  privileges  of  the  Library,  but  only  for  their  own  use.  They  have 
no  authority  to  give  an  order  in  favor  of  another  person.  Previous  to  the  erection  of  the  new  build- 
ing, one  of  the  rules  of  the  Library  had  permitted  the  Librarian,  at  his  discretion,  to  issue  books  to 
the  public  generally,  for  home  use,  on  the  deposit  of  a sum  of  money  sufficient  to  cover  the  value  of  the 
volume  applied  for,  but  this  provision  was  found  to  be  an  embarrassment  and  has  since  been  abolished. 


I 


of  Congress  has  been  fully  preserved.  The  change  has  been  brought  about  in 
many  ways,  but  principally  by  the  exchange  system  of  the  great  governmental 
scientific  bureau,  the  Smithsonian  Institution,  and  by  the  operation  of  the  na- 
tional copyright  law. 

The  Smithsonian  Institution  issues  each  year  a large  number  of  scientific  pub- 
lications of  the  highest  interest  and  importance.  It  distributes  these  throughout 
the  world,  receiving  in  exchange  a body  of  scientific  literature  which  comprehends 
practically  everything  of  value  issued  by  every  scientific  society  of  standing 
both  in  this  country  and  abroad.  With  the  exception  of  a small  working  library 
retained  by  the  Smithsonian  Institution  for  the  immediate  use  of  its  officers,  the 
splendid  collection  of  material  which  has  been  gathered  during  the  forty  years 
in  which  this  exchange  system  has  been  in  operation  is  deposited  in  the  Library 
of  Congress,  forming  a scientific  library  unrivalled  in  this  country. 

By  the  operation  of  the  copyright  law,  any  publisher,  author,  or  artist 
desiring  to  obtain  an  exclusive  privilege  of  issuing  any  publication  whatever, 
must  send  two  copies  of  the  publication  on  which  a copyright  is  asked  to  the 
Librarian  of  Congress  to  be  deposited  in  the  Library.  By  this  means,  during 
the  twenty-five  years  that  the  law  has  been  in  force,  the  Library  has  been  ena- 
bled to  accumulate  approximately  the  entire  current  product  of  the  American 
press,  as  well  as  an  enormous  number  of  photographs,  engravings,  and  other 
works  coming  under  the  head  of  fine  arts.  The  possession  of  this  material 
would  alone  give  the  Library  a special  national  character  possible  to  no  other 
library  in  the  country. 

HISTORY  OF  THE  LIBRARY. 

The  Library  of  Congress  was  founded  in  the  year  1800,  about  the  time  that 
the  government  was  first  established  in  Washington.  Five  thousand  dollars 
was  the  first  appropriation,  made  April  24,  1800,  while  Congress  was  still 
sitting  in  Philadelphia.  Some  of  the  Democratic  Congressmen,  as  strict  con- 
structionists, opposed  the  idea  of  a governmental  library,  but  their  party 
leader,  Thomas  Jefferson,  then  President,  warmly  favored  it.  He  called  it, 
later  in  life,  with  a sort  of  prophetic  instinct,  the  “ Library  of  the  United 
States,”  and  his  support  of  it  from  the  very  beginning  was  so  hearty  and  con- 
sistent that  he  may  perhaps  be  regarded  in  the  broad  sense  as  the  real  founder 
of  the  institution. 

The  Library  was  shelved  from  the  first  in  a portion  of  the  Capitol  building. 
The  first  catalogue  was  issued  in  April,  1802.  It  appears  that  there  were  then, 
in  accordance  with  the  old-fashioned  method  of  dividing  books  according  to 
size,  not  subject,  212  folios,  164  quartos,  581  octavos,  7 duodecimos,  and  9 
maps. 

The  Burning  by  the  British  Troops.  — The  War  of  1812  wrecked  the 
slender  accumulations  of  the  first  dozen  years  of  the  Library’s  existence.  The 
collection  was  entirely  destroyed  by  fire  by  the  British  troops  which  entered 
Washington  August  24,  1814.  The  burning  is  described  by  a writer  in  an  old 
magazine.  “The  British,”  he  says,  “first  occupied  the  Capitol,  only  the  two 
wings  of  which  were  finished,  and  connected  by  a wooden  passageway  erected 
where  the  Rotunda  now  stands.  The  leading  officers  entered  the  House  of  Repre- 
sentatives, where  Admiral  Cockburn  of  the  Royal  Navy  (who  was  co-operating 
with  General  Ross),  seating  himself  in  the  Speaker’s  chair,  called  the  assem- 


blage  to  order.  ‘Gentlemen/  shouted  he,  ‘the  question  is,  Shall  this  harbor  of 
Yankee  democracy  be  burned  ? All  in  favor  of  burning  it  will  say  Aye  ! ’ 
There  was  a general  affirmative  response.  And  when  he  added,  ‘Those 
opposed  will  say  Nay,’  silence  reigned  for  a moment.  ‘Light  up  !’  cried  the 
bold  Briton ; and  the  order  was  soon  repeated  in  all  parts  of  the  building,  while 
soldiers  and  sailors  vied  with  each  other  in  collecting  combustible  material  for 
their  incendiary  fires.  The  books  on  the  shelves  of  the  library  of  Congress 
were  used  as  kindling  for  the  north  wing ; and  the  much  admired  full-length 
portraits  of  Louis  XVI.  and  his  queen,  Marie  Antoinette,  which  had  been 
presented  by  that  unfortunate  monarch  to  Congress,  were  torn  from  their 
frames  and  trampled  under  foot.  Patrick  Magruder,  then  Clerk  of  the  House 
of  Representatives  and  Librarian  of  Congress,  subsequently  endeavored  to 
excuse  himself  from  not  having  even  attempted  to  save  the  books ; but  it  was 
shown  that  the  books  and  papers  in  the  departments  were  saved,  and  that  the 
Library  might  have  been  removed  to  a place  of  safety  before  the  arrival  of  the 
British.” 

The  Acquisition  of  Jefferson’s  Library. — Jefferson  was  then  living  in 
retirement  at  Monticello.  He  was  in  some  financial  difficulty  at  the  time,  and 
he  offered  the  Government  the  largest  portion  of  his  library,  comprising  some 
6,700  volumes,  for  the  price  which  he  had  originally  paid  for  them  — $23,700. 
The  offer  was  accepted  by  Congress,  although  it  met  with  much  opposition. 
Among  those  who  objected  to  the  bill  were  Daniel  Webster,  then  a Repre- 
sentative from  New  Hampshire ; while  Cyrus  King,  a Federalist  member  of 
the  House  from  Massachusetts,  “ vainly  endeavored  to  have  provision  made  for 
the  rejection  of  all  books  of  an  atheistical,  irreligious,  and  immoral  tendency  ” 
— a curious  example  of  the  many  attacks  of  a similar  nature  made  upon  Jeffer- 
son by  his  political  opponents. 

With  Jefferson’s  books  as  a nucleus,  the  Library  of  Congress  began  to  make 
substantial  gains.  In  1832,  a law  library  was  established  as  a distinct  depart- 
ment of  the  collection.  At  present  it  numbers  some  85,000  volumes,  but  for 
the  greater  convenience  of  the  Supreme  Court,  which  sits  in  the  old  Senate 
Chamber  of  the  Capitol,  it  has  not  been  removed  from  its  former  quarters  in 
that  building.  It  is  always  reckoned,  however,  as  a portion  of  the  collection 
of  the  Library  of  Congress. 

In  1850,  the  Library  contained  about  55,000  volumes.  December  24, 1851, 
a fire  broke  out  in  the  rooms  in  which  it  was  shelved,  consuming  three-fifths  of 
the  whole  collection,  or  about  35,000  volumes.  A liberal  appropriation  for 
the  purchase  of  books  in  place  of  those  destroyed  was  made  by  Congress,  and 
from  that  time  to  the  present  day  the  growth  of  the  Library  has  been  un- 
checked. 

Mr.  Spofford’s  Administration. — In  December,  1864,  the  present  Li- 
brarian, Mr.  Ainsworth  Rand  Spofford,  was  appointed  by  President  Lincoln1.  The 
general  management  of  the  Library  has  always  been  in  the  hands  of  a joint 
committee  of  Congress ; but  the  membership  of  the  committee  is  constantly 
changing,  so  that  the  Librarian  is  practically  the  real  head  and  director  of  the 
institution.  During  the  time  that  Mr.  Spofford  has  occupied  his  position,  not 
only  has  the  growth  of  the  collection  been  little  short  of  marvellous,  but  so 

1 The  list  of  the  previous  Librarians  of  Congress,  with  the  dates  when  they  were  appointed,  is  as 
follows:  John  Beckley,  1802;  Patrick  Magruder,  1807;  George  Watterston,  1815;  John  S.  Meehan, 
1829;  John  G.  Stephenson,  1861. 


3 


many  changes  of  system  have  been  introduced  as  almost  completely  to  trans- 
form the  old  Library  of  half  a century  ago.  The  year  following  Mr.  Spofford’s 
appointment,  the  previous  copyright  law  was  modified  so  as  to  require  the  deposit 
in  the  Library  of  Congress  of  a copy  of  every  publication  on  which  copyright 
was  desired,  the  second  copy  required  being  deposited  elsewhere.  The  ad- 
ministration of  the  law  was  still  divided,  however,  in  that  each  State  had  its 
own  office  for  copyright — some  States  more  than  one — with  the  result  that 
the  volumes  due  the  Government  were  sometimes  received  and  sometimes  not. 
There  was  no  way  to  call  the  negligent  publisher  or  author  to  account,  for  no 
single  office  contained  the  complete  information  necessary.  Such  system  as 
existed  was  often  invalidated  by  the  carelessness  of  the  officials  — the  Clerks 
of  the  United  States  District  Courts  — in  charge  in  the  various  States.  In 
1870,  therefore,  Congress  still  further  amended  the  copyright  law  by  consoli- 
dating the  entire  department  in  the  hands  of  the  Librarian  of  Congress,  as 
Registrar  of  Copyrights,  with  the  provision  that  both  copies  of  the  publication 
copyrighted  should  go  to  the  Library.  Since  then,  the  law  has  worked  with 
perfect  smoothness,  and  with  the  result  of  enormous  additions  to  the  Library  — 
numbering,  in  the  year  1896,  no  less  than  55,906  publications  of  all  kinds. 

Naturally  enough,  therefore,  the  Library  has  grown  in  the  last  quarter  of  a 
century  to  be  by  far  the  largest  in  the  country.  In  1896  it  contained,  roughly 
estimated,  755,000  volumes  of  books,  250,000  pamphlets,  500,000  separate 
pieces  of  music,  25,000  maps,  and  256,000  engravings,  photographs,  litho- 
graphs, etchings,  photogravures,  and  pictorial  illustrations  in  general. 

The  Old  Quarters  in  the  Capitol. — For  many  years  the  Library  had 
been  kept  in  the  west  front  of  the  Capitol.  Here  there  was  provision  for  per- 
haps  350,000  volumes.  With  the  great  increase,  the  old  quarters  had  long 
been  utterly  inadequate.  The  crypts  in  the  basement  of  the  Capitol  afforded 
room  for  storage,  but  the  hundreds  of  thousands  of  books,  pieces  of  music, 
and  engravings  thus  stored  were  for  the  most  part  entirely  inaccessible  to  the 
student  — a serious  loss  to  the  usefulness  of  the  Library,  in  spite  of  the  fact 
that,  so  far  as  the  books  were  concerned,  only  duplicates  and  such  volumes  as 
were  seldom  called  for  were  thus  laid  away.  The  copyright  business  could 
be  kept  up  to  date  only  by  the  greatest  effort.  The  rooms  regularly  devoted  to 
the  Library  were  so  small,  and  so  over-crowded  with  books,  that  there  was 
almost  no  opportunity  for  quiet  study,  while  the  ordinary  official  routine  was  car- 
ried on  with  the  greatest  difficulty  and  inconvenience.  That  the  Library 
should  be  able  to  keep  its  doors  open  at  all,  much  more  that  it  should  continue 
promptly  to  furnish  books  to  applicants,  was  a sufficient  cause  for  wonder. 

The  Agitation  for  a New  Building In  his  report  for  1872,  Mr.  Spof- 

ford  first  laid  before  Congress  the  necessity  of  a new  building  for  the  accommoda- 
tion of  the  Library.  It  was  fourteen  years,  however,  before  any  decided  action  was 
taken  in  response  to  this  appeal,  annually  repeated,  and  twenty-five  years  before 
the  present  building  was  finally  ready  for  occupancy.  During  these  fourteen  years, 
to  quote  Mr.  Spofford,  “ various  schemes  for  continuing  the  Library  within  the 
Capitol  were  brought  forward.  One  was  to  extend  the  west  front  of  the  edifice 
one  hundred  feet,  to  hold  the  books ; another,  to  project  the  eastern  front  two 
hundred  and  fifty  feet,  thus  making  a conglomerate  building  out  of  what  is  now 
a purely  classic  edifice ; a third,  and  more  preposterous  scheme,  was  to  accommo- 
date the  Library  growth  within  the  great  inner  concave  of  the  dome,  which  was 
to  be  literally  honeycombed  with  books  from  the  floor  of  the  Rotunda  to  the 


apex : a plan  which  would  have  given  space  for  only  twelve  years’  growth  of 
the  Library,  besides  increasing  incalculably  all  the  difficulties  of  its  administra- 
tion. Every  plan  for  enlarging  the  Capitol  would  have  provided  for  less  than 
thirty  years’  increase,  after  which  Congress  would  be  confronted  with  the  same 
problem  again,  and  forced  to  erect  a new  building  after  all  the  cost  (estimated 
at  four  millions  of  dollars)  of  such  enlargement.  At  length  a commission  of 
architects  reported  against  disturbing  the  symmetry  of  the  Capitol,  and  that 
illusive  spectre  was  laid  to  rest.  Then  ensued  difficulties  and  dissensions  about 
a site,  about  plans,  about  architects,  and  about  cost.  Some  wanted  to  save 
money  by  planting  a building  in  the  Botanic  Garden,  or  on  the  Mall,  sites 
which  have  been  twice  under  water  in  the  last  twenty  years,  from  the  overflow 


THE  ENTRANCE  PAVILION. 

of  the  Potomac  River.  Some  wanted  a plain  storehouse  of  brick,  after  the 
model  of  the  Pension  Building,  but  it  was  wisely  concluded  that  one  such 
architectural  monstrosity  was  enough  for  our  Government. 

“ At  length  all  differences  between  Senate  and  House  were  harmonized  ; the  act 
for  a separate  building  received  over  two-thirds  majority  in  1886  ; a site  of  ten 
acres  was  purchased  on  a plateau  near  the  Capitol  for  $585,000  ; work  was  begun 
on  a large  scale,  but  cut  down  in  1888  to  smaller  dimensions,  with  a limitation 
of  ultimate  cost  of  $4,000,000;  restored  in  1889  to  the  original  size,  and  the 
limitation  of  cost  was  raised  to  $5,500,000,  in  addition  to  sums  heretofore  appro- 
priated, thus  providing  for  an  ample  and  thoroughly  equipped  edifice,  with 
ultimate  accommodations  for  four  and  one-half  millions  of  volumes.” 


5 


THE  NEW  BUILDING. 


The  first  act  of  Congress  providing  for  the  construction  of  the  building  was 
approved  April  15,  1886.  Its  terms  adopted  the  plan  submitted  by  Mr.  John 
L.  Smithmeyer ; created  a commission  consisting  of  the  Secretary  of  the  In- 
terior, the  Architect  of  the  Capitol  Extension,  and  the  Librarian  of  Congress, 
to  have  charge  of  and  carry  forward  the  work ; and  selected  the  present  site. 
The  year  1886  was  occupied  in  appraising  and  taking  possession  of  the  ground  ; 
the  next  year  in  clearing  the  site,  making  the  principal  excavation  for  the 
foundations,  and  laying  the  drainage  system;  and  the  year  1888  in  laying  one 
half  of  the  concrete  foundation  footings  on  the  plan  adopted  by  the  act  above 
mentioned.  On  October  2,  1888,  a new  act  of  Congress  was  approved,  re- 
pealing so  much  of  the  act  of  April  15,  1886,  as  provided  for  a commission 
and  the  construction  of  the  building  according  to  the  plan  therein  specified. 
This  act  placed  the  work  under  the  sole  control  and  management  of  the  Chief 
of  Engineers  of  the  Army,  Brigadier-General  Thomas  Lincoln  Casey,  requiring 
him  to  report  direct  to  Congress  annually  and  to  prepare  general  plans  for  the 
entire  construction  of  the  building,  subject  to  the  approval  of  the  Secretary  of 
War  and  the  Secretary  of  the  Interior,  and  within  a total  cost  of  $4,000,000, 
exclusive  of  appropriations  previously  made. 

The  preparation  of  the  new  design  was  at  once  entered  upon,  using  the 
previous  one  of  Mr.  Smithmeyer  as  a basis  by  reducing  its  dimensions  and 
otherwise  considerably  modifying  it  to  bring  the  cost  within  the  required  limit. 
The  new  plans  were  completed  and  submitted  for  approval  to  the  Secretaries 
on  November  23,  1888,  but  no  action  was  taken  by  them.  At  the  same  time 
this  design,  together  with  another  modification  of  the  original,  retaining  the  full 
dimensions  of  the  building,  but  modifying  its  ground-plan  and  other  archi- 
tectural features,  within  and  without,  in  many  important  particulars,  was  placed 
before  Congress.  The  cost  of  the  building  by  the  latter  design  was  estimated 
at  $6,003,140,  and  the  time  for  its  construction  at  eight  years.  Toward  the 
close  of  the  session  Congress  again  took  up  the  subject  of  plans  in  connection 
with  the  sundry  civil  appropriation  bill  and  adopted  the  larger  modified  design 
by  the  act  approved  March  2,  1889,  directing  that  the  building  be  erected  in 
accordance  therewith,  and  at  a total  cost  not  to  exceed  $5,500,000,  exclusive 
of  appropriations  previously  made.  The  amount  of  the  previous  appropria- 
tions was  $1,000,000,  of  which  a balance  of  $745,567.94  remained  after  the 
expenses  of  operations  on  the  old  plan  had  all  been  defrayed.  Thus  the  total 
limit  of  cost  of  the  new  plan  was  fixed  by  law  at  $6,245,567.94.  It  may  be 
added  that  none  of  the  plans,  drawings,  or  designs  made  prior  to  General 
Casey’s  taking  charge  of  the  work  were  used,  all  having  been  new  and  different. 

In  the  meantime  many  detailed  plans  of  stonework  for  the  exterior  walls, 
foundations,  etc.,  had  been  prepared,  and  the  working  up  of  the  details  of  de- 
sign and  construction  in  general  had  been  actively  going  on  in  the  drafting 
room,  so  that  all  was  in  readiness  for  the  prompt  and  vigorous  commencement 
of  operations,  which  took  place  on  the  ground  as  soon  as  Congress  had  passed 
the  act  of  March  2,  1889. 

In  the  execution  of  the  work  General  Casey  had  the  entire  responsible 
charge  under  Congress  from  October  2,  1888,  until  his  death,  on  March  25, 
1896,  and  he  also  disbursed  the  funds  during  that  period.  He  held  general 
supervision,  gave  general  direction  to  all  principal  proceedings,  and  maintained 

6 


an  intimate  knowledge  of  the  work  at  all  times,  while  performing  the  duties  of 
his  more  absorbing  and  important  office  of  Chief  of  Engineers  of  the  Army  at 
the  War  Department,  to  which  he  succeeded  a few  months  before  he  was 
placed  in  charge  of  the  Library  building  by  Congress.  General  Casey  had  been 
connected  with  some  of  the  most  important  pieces  of  construction  ever  under- 
taken by  the  Government,  including  the  erection  of  the  State,  War  and  Navy 
Building  and  the  completion  of  the  Washington  Monument.  The  last  was 
an  especially  difficult  task,  as  it  had  been  necessary  to  strengthen  the  old  foun- 
dations of  the  shaft  before  it  was  possible  to  proceed  with  the  work.  In  this 
delicate  and  hazardous  undertaking,  as  well  as  in  the  erection  of  the  State,  War 
and  Navy  Building,  and  other  works,  General  Casey  had  been  assisted  by  Mr. 
Bernard  R.  Green,  C.  E.,  whom  he  now  appointed  to  be  superintendent  and 
engineer  of  the  construction  of  the  new  Library  building,  and  put  in  full  local 
charge  of  the  entire  work. 

To  aid  in  designing  the  artistic  features  of  the  architecture  — that  is,  exclu- 
sive of  arrangement,  construction,  utility,  apparatus,  and  the  management  of 
the  business  — Mr.  Paul  J.  Pelz  was  employed  under  the  immediate  direction 
of  General  Casey  and  Mr.  Green.  Mr.  Pelz  had  been  in  partnership  with  Mr. 
Smithmeyer  in  the  production  of  the  original  general  plan  and  design.  In  this 
way  the  design  of  the  building,  as  it  now  appears  in  the  main  in  the  exterior 
and  court  walls,  the  dome,  the  approaches  to  the  west  front,  was  evolved,  Mr. 
Pelz  thereby  fixing  the  plan  and  main  proportions  of  the  building.  In  the 
spring  of  1892  Mr.  Pelz’s  connection  with  the  work  ceased.  At  that  time  the 
building  had  reached  but  little  more  than  one-half  its  height. 

In  the  fall  of  that  year  Mr.  Edward  Pearce  Casey,  of  New  York  City,  was 
employed  as  architect  and  also  as  adviser  and  supervisor  in  matters  of  art. 
His  designs  principally  include  all  of  the  most  important  interior  architecture 
and  enrichment  in  relief  and  color.  Mr.  Casey  continued  as  architect  until  the 
completion  of  the  building.  On  the  death  of  General  Casey,  in  March,  1896,  he 
was  immediately  succeeded  by  Mr.  Green,  under  whose  charge  the  building  was 
completed,  in  February,  1897,  within  the  limit  of  time  set  by  Congress  in  1888, 
and  about  $140,000  below  the  limit  of  cost  — or,  in  round  numbers,  for 
$6,360,000. 

General  Decoration:  Mr.  Garnsey  and  Mr.  Weinert.  — In  addition 
to  those  whose  work  has  been  described  in  the  preceding  paragraphs,  two  other 
men  remain  to  be  mentioned  in  giving  any  general  account  of  the  construction 
of  the  new  building : Mr.  Elmer  E.  Garnsey,  who  was  in  charge,  under  the 
general  supervision  of  the  architect,  of  the  conventional  color  decoration  of  the 
interior,  and  Mr.  Albert  Weinert,  who,  in  the  same  way,  was  in  charge  of  the 
stucco  ornamentation.  Mr.  Weinert  was  put  at  the  head  of  a staff  of  modellers, 
who  executed  on  the  spot  the  great  variety  of  relief  arabesque  and  minor  sculp- 
ture required  in  the  comprehensive  scheme  of  stucco  ornament  adopted  by  Mr. 
Casey  as  a chief  factor  in  the  decoration  of  the  main  halls  and  galleries  through- 
out the  building.  For  the  general  color  decoration  of  the  building — which  ex- 
tends into  every  room  in  the  building,  and  includes  the  many  elaborate  and 
beautiful  arabesques  which  decorate  the  vaulting  of  the  main  halls — Mr.  Elmer 
E.  Garnsey,  who  had  been  concerned  in  similar  work  at  the  World’s  Fair,  the 
Boston  Public  Library,  and  the  Carnegie  library  in  Pittsburg,  was  engaged.  A 
large  studio  was  fitted  up  in  the  building  and  a staff  of  designers  and  fresco- 
painters  was  organized.  Mr.  Edward  J.  Holslag  was  appointed  foreman  ; Mr. 

7 


William  A.  Mackay  and  Mr.  Frederick  C.  Martin  were  employed  to  carry  out 
on  the  walls  the  finer  portions  of  the  designs ; and  Mr.  W.  Mills  Thomp- 
son and  Mr.  Charles  Caffin  to  make  the  finished  cartoons  from  the  original 
sketches  for  the  use  of  the  fresco-painters.  The  latter  numbered  about  twenty- 
five,  and  the  larger  portion  of  them  were  kept  constantly  busy  for  nearly  a year 
and  a half. 

The  General  Character  of  the  Building. — Of  the  splendid  and  mon- 
umental building  itself,  it  may  be  stated,  before  entering  upon  a detailed 
description  — and  stated,  too,  with  hardly  any  fear  of  contradiction  — that  it 
is  the  most  perfectly  adapted  for  the  convenient  use  and  storage  of  books  of  any 
large  library  in  the  world.  It  is  the  largest,  the  costliest,  and  the  safest.  It  is 
absolutely  fire-proof,  not  through  any  ingenious  arrangement  or  contrivance,  but 
by  the  very  quality  of  the  materials  of  which  it  is  built  — granite,  brick,  marble, 
iron,  steel,  and  terra-cotta.  Wood  floors  are  used  in  many  of  the  rooms,  but 
they  are  merely  a carpet  of  boards  laid  upon  terra-  cotta  or  brick  vaults.  It 
would  be  impossible  for  the  Library  to  burn  down ; a fire  would  nowhere  have 
an  opportunity  to  spread.  The  great  size  of  the  building  is  perhaps  best  ap- 
preciated from  a statement  of  the  amount  of  some  of  the  materials  used  in  it : 
409,000  cubic  feet  of  granite,  500,000  enamelled  brick,  22,000,000  red  brick, 
3,800  tons  of  steel  and  iron,  and  73,000  barrels  of  cement.  The  draughting 
office  turned  out,  during  the  eight  years  that  the  Library  was  under  construc- 
tion, 1,600  plans  and  drawings.  Exclusive  of  the  cellar,  the  total  floor- space 
is  326,195  square  feet,  or  nearly  eight  acres;  and  the  whole  number  of  win- 
dows is  about  2,165. 

As  a matter  of  “library  economy,”  the  arrangement  of  the  building  is  of 
great  interest.  The  problems  to  be  solved  were  mostly  new  ones.  In  a paper 
on  the  Library,  read  before  the  American  Library  Association,  Mr.  Green  said  : 
“ Its  design  was  preceded  by  few  or  no  good  examples  of  library  architecture, 
and  was  therefore  the  outcome  of  theory  and  deduction  rather  than  the  appli- 
cation of  established  principles.”  This  task  was  not  undertaken  in  any  dog- 
matic way,  however;  “ the  effort  was,”  as  Mr.  Green  went  on  to  say,  “ to  plan 
on  general  rather  than  particular  principles,  and  afford  the  largest  latitude  for 
expansion  and  re-arrangement  in  the  use  of  the  spaces.” 

So  far,  however,  as  general  interest  is  concerned,  it  is  the  magnificent  series 
of  mural  and  sculptural  decorations  with  which  the  architecture  is  enriched 
that  has  contributed  most  to  give  the  Library  its  notable  position  among  Ameri- 
can public  buildings.  Although  a similarly  comprehensive  scheme  of  decora- 
tion was  carried  out  at  the  World’s  Fair  in  Chicago,  and  afterwards  in  the  new 
Public  Library  in  Boston,  the  Government  itself  had  never  before  called  upon 
a representative  number  of  American  painters  and  sculptors  to  help  decorate, 
broadly  and  thoroughly,  one  of  its  great  public  monuments.  Commissions 
were  here  given  to  nearly  fifty  sculptors  and  painters  — all  Americans  — and 
their  work,  as  shown  throughout  the  building,  forms  the  most  interesting  record 
possible  of  the  scope  and  capabilities  of  American  art. 

It  may  be  noted  here,  also,  that,  both  inside  and  out,  the  Library  is,  in  the 
main,  in  the  style  of  the  Italian  Renaissance  — derived,  that  is  to  say,  from  the 
architecture  of  the  buildings  erected  in  Italy  during  the  period  (roughly  speak- 
ing, the  fifteenth  century  or  earlier)  when  the  elements  of  classic  art  were  re- 
vived and  re-combined  in  a Renascence , or  New  Birth , of  the  long-neglected 
models  of  Greece  and  Rome. 


8 


THE  EXTERIOR  OF  THE  BUILDING. 


The  site  of  the  Library  originally  comprised  two  city  blocks,  containing 
seventy  houses,  with  an  extent,  as  has  been  said,  of  ten  acres.  It  is 
bounded  by  First,  East  Capitol,  Second,  and  B Streets,  and  forms  a partial 
continuation  of  the  band  of  parks  which  stretches  east  from  the  Washington 
Monument,  including  the  Agricultural  Grounds,  the  Smithsonian  Grounds, 
Armory  Square,  the  Public  Gardens,  the  Botanic  Garden,  and  the  Capitol 
Grounds.  The  general  effect  of  the  grounds  enclosing  the  Library  is  that  of 
an  extension  of  the  Capitol  Grounds,  the  street  separating  the  two,  for  example, 
being  treated,  so  far  as  possible,  as  a driveway  through  a park,  and  both  being 
enclosed  by  low  or  “ dwarf  ” walls  of  the  same  height  and  design. 


The  Library  faces  exactly  west.  It  is  four  hundred  and  seventy  feet  long 
(from  north  to  south),  and  three  hundred  and  forty  deep  (from  west  to  east). 
It  occupies,  exclusive  of  approaches,  three  and  three-quarters  acres.  . 

The  general  disposition  of  the  building  may  best  be  seen  by  a glance  at  the 
ground  plan  given  on  the  present  page.  The  exterior  walls  are  thus  seen  to 
belong  to  a great  rectangle,  which  encloses  a cross  dividing  the  open  space 
within  into  four  courts,  each  one  hundred  and  fifty  feet  long  by  seventy-five  or 
one  hundred  feet  wide.  At  the  intersection  of  the  arms  of  the  cross  is  an  octa- 
gon, serving  as  the  main  reading  room,  and  conspicuous  by  reason  of  its  dome 
and  lantern,  which,  rising  well  above  the  walls  of  the  Rectangle,  are  the  first 
feature  of  the  building  to  attract  the  attention  of  the  visitor.  The  lantern  is 
surmounted  by  a great  blazing  torch  with  a gilded  flame  — the  emblematic 

9 


Torch  of  Learning  — which  marks  the  centre  and  apex  of  the  building,  a hun- 
dred and  ninety-five  feet  above  the  ground.  The  dome  and  the  domed  roof  of 
the  lantern  are  sheathed  with  copper,  over  which,  with  the  exception  of  the 
ribs  of  the  dome,  left  dark  to  indicate  their  structural  importance,  is  laid 
a coating  of  gold  leaf,  twenty- three  carats  fine.  The  surface  covered  is  so 
large  that  one’s  first  thought  is  apt  to  be  of  the  expense.  As  a matter  of 
fact,  however,  the  total  cost  — including  the  gilding  for  the  flame  of  the  torch  — 
was  less  than  $3,800.  Since  it  will  require  to  be  renewed  much  less  frequently 
its  use  was  considerably  more  economical  than  painting. 

The  Facades.  — The  exterior  walls  of  the  Library  are  constructed  wholly 
of  granite,  quarried  in  Concord,  New  Hampshire.  The  stone  is  a close-grained 
variety,  so  even  and  light  in  tone  that  when  the  sun  is  shining  upon  it  the  effect 
is  almost  as  brilliant  as  if  a white  marble  had  been  used.  The  massive  buttresses 


which  support  the  Octagon 
at  each  of  its  eight  corners, 
and  so  much  of  the  Octa- 
gon wall  as  is  visible  from 
the  outside,  are  also  gran- 
ite, but  of  a different 
quality,  slightly  darker  in 
hue,  and  coming  from 
quarries  in  Maryland. 


The  Library  is  in  three 
stories:  the  basement 
story  of  fourteen  feet ; the 
first  story,  or  main  library 
floor,  of  twenty-one  feet ; 
and  the  second  story  of 
twenty-nine  feet — making 
a height  of  sixty-four  feet 
for  the  three  stories  at  the 
lowest  point.  Adding  to 
this  the  base  at  ground 
level,  and  the  simply  de- 
signed balustrade  which 
surmounts  the  whole,  the 


NYMPH  AND  SEA-HORSE,  FROM  THE  FOUNTAIN. 


total  height  is  seventy-two  feet  above  the  ground.  Beneath  the  entire  structure 
is  a cellar,  below  the  level  of  the  ground  outside,  but  within  opening  upon 
the  interior  courts.  The  granite  of  which  the  walls  are  constructed  is  rough, 
or  “ rock-faced,”  in  the  basement  story ; much  more  finely  dressed  in  the  story 
above ; and  in  the  second  story  brought  down  to  a perfectly  smooth  surface. 
The  windows  in  the  basement  are  square-headed,  as  also  on  the  library  floor, 
except  along  the  west  front,  where  they  are  arched,  with  ornamental  keystones. 
Throughout  the  second  story  they  are  again  square- headed,  but  with  casings 
in  relief,  surmounted  by  pediments  alternately  rounded  and  triangular,  and, 
along  the  west  front,  railed  in  at  the  bottom  by  false  balustrades. 

To  prevent  the  monotony  incident  to  a long,  unrelieved  fagade,  the  walls  are 
projected  at  each  of  the  four  corners  and  in  the  centre  of  the  east  and  west 
sides,  into  pavilions,  which,  in  addition  to  being  slightly  higher  than  the  rest  of 
the  rectangle  — thus  allowing  space  for  a low  attic-story  — are  treated  with 


10 


greater  richness  and  elaboration  of  ornamental  detail.  The  corners  are  set  with 
vermiculated  granite  blocks  — blocks  whose  surface  is  worked  into  “ vermicu- 
lations”  or  “wormings.”  The  keystones  of  the  window-arches  in  the  first 
story  are  sculptured  with  a series  of  heads  illustrating  the  chief  ethnological 
types  of  mankind.  Along  the  second-story  front  runs  a portico  supported  up- 
on a row  of  twin  columns,  each  a single  piece  of  granite,  with  finely  carved  Co- 
rinthian capitals.  The  pedestals  which  support  the  columns  are  connected  by 
granite  balustrades,  so  that  the  portico  forms  a single  long  balcony,  with  an  en- 
trance through  the  windows  which  look  out  upon  it. 

THE  ENTRANCE  PAVILION. 


Of  all  these  pavilions  the  West,  or  Main  Entrance,  Pavilion,  is  by  far  the 
largest  as  well  as  by  far  the  most  ornate.  It  is  one  hundred  and  forty  feet 
long,  or  almost  a third  the  total 
length  of  the  building,  and 
about  seven  feet  higher  than 
either  of  the  other  five  pavilions. 

At  either  end  it  is  itself  pro- 
jected, or  pavilioned.  The  Main 
Entrance  is  through  a porch 
of  three  arches,  on  the  main 
library  floor.  The  approaches 
are  extensive  and  imposing. 

A flight  of  steps,  constructed 
of  granite  from  Troy,  New 
Hampshire,  ascends  from  either 
side  to  a central  landing,  laid 
with  flags  of  red  Missouri  granite. 

Thence  the  stairway  leads  in 
a single  flight  to  the  Entrance 
Porch,  with  space  underneath 
for  a porte  cochere  in  front  of 
the  doors  admitting  to  the  base- 
ment. The  central  landing  just 
spoken  of  is  protected  by  a 
high  retaining  wall  which  forms 
the  background  for  a splendid 
fountain  by  Mr.  Roland  Hinton 
Perry,  ornamented  with  a profusion  of  allegorical  figures  in  bronze  — the 
chief  figure  representing  Neptune  enthroned  in  front  of  a grotto  of  the  sea. 

The  posts  of  the  granite  railing  of  the  steps  support  elaborate  bronze 
candelabra,  bearing  clusters  of  electric  lamps  for  illumination  at  night. 
The  spandrels  of  the  Entrance  Porch  — the  approximately  triangular 
spaces  flanking  the  three  arches  — are  ornamented  with  female  figures 
sculptured  in  high  relief  in  granite,  representing  Literature , Science , and 
Art.  They  were  modelled  by  Mr.  Bela  L.  Pratt.  Above  the  main 
windows  of  the  library  floor  is  a series  of  smaller,  circular  windows, 
which  serve  as  a background  for  a series  of  granite  busts  (the  pedestals  of 
which  rest  in  the  pediments  below)  of  men  eminent  in  literature.  There 


NEPTUNE,  FROM  THE  FOUNTAIN. 


are  nine  in  all,  seven  along  the  front,  and  one  at  each  end  of  the  pavilion. 
They  are  flanked  by  boldly  sculptured  figures  of  children,  reclining  upon 
the  sloping  pediments,  or,  alternately,  by  massive  garlands  of  fruits.  The 
keystones  of  the  circular  windows  each  support  the  standing  figure  of  a winged 
cherub,  or  genius,  all  sculptured  from  a single  design,  and  introduced  as  the 
accentuating  feature  of  a frieze  of  foliated  ornament  extending  along  the  three 
sides  of  the  pavilion.  Like  the  garlands  and  figures  on  the  pediments,  they 
were  modelled  by  Mr.  William  Boyd.  At  either  end  of  the  attic  story  Mr. 
Boyd’s  hand  appears  again  in  the  sculptural  embellishment  of  the  little  porch — 
as  one  may  perhaps  call  it — which  looks  out  upon  the  balcony  formed  by  the 
granite  railing.  The  rounded  pediment  contains  a group  in  granite  consisting 
of  the  American  eagle  flanked  by  two  seated  children.  Each  pediment  is 
supported  on  the  shoulders  of  two  conventional  Atlases  — “Atlantides”  is 
the  technical  name — figures  of  gigantic  strength,  so  called  because  in  the  Greek 
and  Roman  mythology  Atlas  was  fabled  as  a giant  supporting  the  vault  of 
heaven  by  his  unaided  strength. 

A more  particular  description  is  required  of  the  fountain,  the  ethnological 


RUSSIAN  SLAV.  BLONDE  EUROPEAN.  BRUNETTE  EUROPEAN. 


heads,  the  series  of  busts  in  the  portico  of  the  Entrance  Pavilion,  and  the  span- 
drel figures  ornamenting  the  Entrance  Porch. 

Mr.  Hinton  Perry’s  Fountain. — Of  Mr.  Perry’s  fountain,  it  may  be 
said  at  once  that  it  is  the  most  lavishly  ornamental  of  any  in  the  country.  It 
occupies  a semicircular  basin  fifty  feet  broad,  containing  a dozen  bronze  figures 
disposed  to  represent  a scene  — so  one  may  take  it  — in  the  court  of  Neptune, 
the  classic  god  of  the  sea.  The  granite  wall  of  the  terrace  against  which  the 
fountain  is  placed  contains  three  deep  niches,  in  the  spandrels  of  which  are  four 
dolphins  sculptured  in  relief  from  models  by  Mr.  Albert  Weinert.  The  niches 
themselves  are  treated  with  an  evident  suggestion  of  a grotto  worn  by  the  sea, 
with  a hint,  also,  at  the  formation  of  stalactites  by  the  constant  dripping  of 
water.  In  front  of  the  central  niche  Neptune  is  seated  in  a majestic  attitude 
on  a bank  of  rocks.  He  is  represented  as  an  old  man  with  a long  flowing 
beard,  but  the  lines  of  his  naked  figure  indicate  the  energy  and  great  muscular 
strength  befitting  the  Ruler  of  the  Deep.  The  figure  is  of  colossal  size  ; it  would 
be,  that  is,  if  standing,  about  twelve  feet  in  height.  On  either  side  of  the 
bank  lolls  a figure  of  Triton,  one  of  the  minor  sea-gods,  blowing  a conch  shell 
to  summon  the  water-deities  to  the  throne  of  their  sovereign.  In  front  of 
each  of  the  niches  at  the  side  is  a sea-nymph  triumphantly  bestriding  an  infuri- 
ated sea-horse,  his  ears  laid  back  and  his  fish’s  tail  writhing  with  anger  on 


account  of  a jet  of  water  constantly  thrown  against  his  head.  The  basin  is 
crossed  and  re-crossed  by  similar  jets,  which  furnish  the  whole  flow  of  water, 
and  proceed  from  the  mouths  of  sea-monsters  in  various  places  throughout 
the  fountain.  There  are  seven  of  them  in  all.  The  first  is  a serpent  just  showing 
itself  above  the  water  in  front  of  the  bank  on  which  Neptune  is  seated. 
Higher  up,  to  the  right  and  left,  two  gigantic  frogs  lurk  in  crevices  of 
the  rocks ; and  floating  along  the  outer  edge  of  the  basin  are  four  huge  Florida 


MODERN  GREEK.  PERSIAN.  CIRCASSIAN. 


turtles,  their  heads  raised  a little  above  the  water  and  their  long  fins  making  as 
if  swimming. 

The  Ethnological  Heads.  — The  ethnological  heads  ornamenting  the  key- 
stones of  the  first-story  pavilion  windows  offer  as  interesting  material  for  study 
as  any  of  the  decorations  of  the  Library.  The  series  is  unique  in  that  it  is  the 
first  instance  of  a comprehensive  attempt  to  make  ethnological  science  contribute 
to  the  architectural  decoration  of  an  important  public  building.  It  was  at  first 
proposed  to  employ  a more  conventional  kind  of  ornament,  such  as  the  familiar 
Gorgons’  heads  so  often  found  in  connection  with  Renaissance  architecture. 
The  present  idea  was  carried  out  with  the  assistance  of  Professor  Otis  T. 


HINDOO.  HUNGARIAN.  SEMITE. 


Mason,  the  Curator  of  the  Department  of  Ethnology  in  the  National  Museum  for 
the  last  twelve  years.  The  heads,  thirty-three  in  number,  are  about  a foot 
and  a half  in  height,  and  were  modelled,  some  by  Mr.  Boyd  and  others 
by  Mr.  Henry  J.  Ellicott,  after  data  accumulated  by  Professor  Mason  as  the 
result  of  some  six  months’  special  study  of  the  ethnological  collections  in  the 
possession  of  the  National  Museum  — which  contains,  indeed,  practically  all  the 
material  (books,  photographs,  carefully  verified  measurements)  necessary  for 

13 


such  an  undertaking.  The  large  collection  of  authentic,  life-size  models, 
chiefly  of  savage  and  barbarous  peoples,  which  the  visitor  may  see  in  its  exhi- 
bition halls,  is  the  most  extensive  in  the  country,  and  many  of  the  heads  on  the 
Library  keystones  are  taken  directly  from  these. 

Taking  into  consideration  the  difficulty  of  obtaining  the  more  delicate  dif- 
ferentiation of  the  features  in  a medium  so  unsatisfactory,  from  its  coarseness 
of  texture,  as  granite,  the  result  of  Professor  Mason’s  work  is  one  of  the  most 


ARAB.  TURK.  MODERN  EGYPTIAN. 

scientifically  accurate  series  of  racial  models  ever  made.  Still  another  difficulty, 
it  may  be  added,  lay  in  the  fact  that  each  head  had  to  be  made  to  fit  the  key- 
stone. Besides  the  necessity  of  uniform  size,  the  architect  demanded  also,  as 
far  as  possible,  a generally  uniform  shape,  which  it  was  often  very  hard  to  give 
and  still  preserve  the  correct  proportions  of  the  racial  type.  The  face  had  to 
be  more  or  less  in  line  with  the  block  it  ornamented,  and,  especially,  the  top  of 
the  head  had  to  follow,  at  least  roughly,  a certain  specified  curve.  This  last 
point  was  met  either  by  using  or  not  using  a head-dress,  whichever  best  met  the 
difficulty.  In  one  case  the  problem  was  a little  puzzling — that  of  the  Plains 
Indian,  with  his  upright  circlet  of  eagle’s  feathers,  which  were  bound  to  exceed 


ABYSSINIAN.  MALAY.  POLYNESIAN. 

the  line,  if  accurately  copied.  The  difficulty  was  frankly  met  by  laying  the 
feathers  down  nearly  flat  upon  the  head. 

In  preparing  the  models,  accuracy  was  the  chief  thing  considered.  Any 
attempt  at  dramatic  or  picturesque  effect,  except  what  was  natural  to  the  type 
portrayed,  was  felt  to  be  out  of  place.  Each  head  was  subjected  to  the  strict 
’ test  of  measurement  — such  as  the  ratio  of  breadth  to  length  and  height,  and 
the  distance  between  the  eyes  and  between  the  cheek  bones  — this  being  the 


most  valuable  criterion  of  racial  differences.  All  portraiture  was  avoided,  both 
as  being  somewhat  invidious  and  unscientifically  personal,  and,  more  espe- 
cially, because  no  one  man  can  ever  exemplify  all  the  average  physical 
characteristics  of  his  race.  On  the  other  hand,  the  heads  were  never  permitted 
to  become  merely  ideal.  It  will  be  noticed  that  all  are  those  of  men  in  the 
prime  of  life. 

The  list  of  the  races,  beginning  at  the  north  end  of  the  Entrance  Pavilion,  and 


AUSTRALIAN.  NEGRITO.  ZULU. 


thence  continuing  south  and  round  the  building  to  the  Northwest  Pavilion,  is 
as  follows,  each  head  being  numbered  for  convenience  in  following  the  order 
in  which  they  occur:  i,  Russian  Slav;  2,  Blonde  European;  3,  Brunette 
European;  4,  Modern  Greek ; 5,  Persian  (Iranian);  6,  Circassian;  7,  Hin- 
doo; 8,  Hungarian  (Magyar)  ; 9,  Semite,  or  Jew;  10,  Arab  (Bedouin)  ; 11, 
Turk;  12,  Modern  Egyptian  (Hamite)  ; 13,  Abyssinian;  14,  Malay;  15,  Poly- 
nesian; 16,  Australian;  17,  Negrito  (from  Indian  Archipelago);  18,  Zulu 
(Bantu)  ; 19,  Papuan  (New  Guinea)  ; 20,  Soudan  Negro;  21,  Akka  (Dwarf 
African  Negro) ; 22,  Fuegian ; 23,  Botocudo  (from  South  America)  ; 24,  Pueblo 
Indian  (as  the  Zunis  of  New  Mexico);  25,  Esquimaux;  26,  Plains  Indian 


PAPUAN.  SOUDAN  NEGRO.  AKKA. 


(Sioux,  Cheyenne,  Comanche)  ; 27,  Samoyede  (Finnish  inhabitant  of  Northern 
Russia)  ; 28,  Corean ; 29,  Japanese;  30,  Aino  (from  Northern  Japan)  ; 31, 
Burmese;  32,  Thibetan;  33,  Chinese. 

It  will  be  seen  that  the  various  races  are  grouped  so  far  as  possible  accord- 
ing to  kinship.  There  is  not,  however,  space  — and  this  is  hardly  the  place  — 
in  which  to  explain  the  many  points  which  might  be  brought  up  in  connection 
with  this  interesting  series  of  heads.  For  such  information  the  reader  is  re- 

!5 


ferred  to  any  good  text-book  on  ethnology.1  One  or  two  special  details,  how- 
ever, may  properly  be  mentioned.  The  selection  of  the  Pueblo  Indian,  for 
example,  was  a second  choice.  Professor  Mason  would  have  preferred  one  of 
the  ancient  Peruvian  Incas,  but  no  satisfactory  portrait  could  be  found  to  work 
on.  The  Thibetan  is  a Buddhist  priest,  as  indicated  by  his  elaborate  turban. 
The  Chinese  belongs  to  the  learned,  or  Mandarin  class.  The  Russian  with  his 
fur  cap  is  the  typical  Slavic  peasant.  The  Blonde  European  is  of  the  educat- 


FUEGIAN.  BOTOCUDO.  PUEBLO  INDIAN. 


ed  German  type,  dolichocephalic,  or  long-headed  ; the  Brunette  European  is 
the  Roman  type,  brachycephalic,  or  broad-headed.  The  architect  has  intro- 
duced a Greek  fret  on  the  turban  of  the  Greek  to  symbolize  the  importance  of 
ancient  Greek  art.  The  Egyptian  is  the  typical  Cairo  camel-driver.  The 
Corean  wears  the  dress  and  hat  of  the  courtier,  and  the  Turk  also  is  depicted 
as  a member  of  the  upper  classes.  The  Hungarian  wears  the  astrachan  or 
lambswool  cap  of  the  peasant.  Many  of  the  heads  of  savage  or  barbarous 
races  are  shown  with  their  peculiar  ornaments  — the  Malay  with  his  earrings, 
the  Papuan  with  his  nose-plug,  the  Botocudo  with  studs  of  wood  in  his  ears 
and  lower  lip,  and  the  Esquimaux  with  the  labret  or  lip-plug  of  walrus  ivory. 


ESQUIMAUX.  PLAINS  INDIAN.  SAMOYEDE. 


The  face  of  the  Polynesian,  finally,  is  delicately  incised  with  lines,  copied  from 
a specimen  of  Maori  (New  Zealand)  tattooing. 

The  Portico  Busts. — The  list  of  the  men  commemorated  by  the  nine  busts 
in  the  portico  is  as  follows : Demosthenes,  Emerson,  Irving,  Goethe,  Franklin, 
Macaulay,  Hawthorne,  Scott,  and  Dante.  The  Demosthenes , Scott,  and  Dante 


I Such  as  Races  and  Peoples , by  Dr.  Daniel  G.  Brinton. 

16 


were  modelled  by  Mr.  Herbert  Adams ; the  Emerson , Irving , and  Hawthorne 
by  Mr.  J.  Scott  Hartley ; and  the  Goethe , Franklin , and  Macaulay  by  Mr.  F. 
Wellington  Ruckstuhl.  The  reader  will  see  that  so  far  as  possible  with  an  odd 
number,  the  work  of  each  sculptor  is,  so  to  say,  in  balance  — Mr.  Ruckstuhl’s 
in  the  centre,  flanked  by  Mr.  Hartley’s,  and  Mr.  Adams’s  at  either  end  — thus 
avoiding  any  possible  confusion  of  style,  and  giving  the  artist  all  the  advantage 
which  comes  from  a symmetrical  disposition  of  his  productions.  There  is,  as  a 


COREAN.  JAPANESE.  AINO. 


matter  of  fact,  very  little  diversity  in  the  present  series.  Each  bust  is  of  uni- 
form height  — about  three  feet,  not  reckoning  the  pedestal  — with  a uniform 
background.  The  statue  of  Franklin,  coming  in  the  centre,  has,  intentionally, 
a certain  effect  of  pre-eminence.  The  sculptor  conceived  him  “ as  one  of  the 
greatest  men  of  this  country,  and  as  a writer  and  philosopher  the  patriarch,  and 
therefore  aimed  to  make  him  dominate  the  rest.”  A word  should  be  said 
regarding  the  background  of  the  busts  — the  glass  enclosed  in  the  framing  of 
the  circular  windows.  The  effect,  as  always  of  a window,  is  dark,  as  granite 
would  not  have  been,  thus  throwing  the  busts,  which  are  of  the  same  material 
as  the  walls,  into  sharp,  strong  relief. 


BURMESE.  THIBETAN.  CHINESE. 


Mr.  Pratt’s  Spandrel  Figures.  — The  beautiful  spandrel  figures  of  the 
Entrance  Porch  modelled  by  Mr.  Bela  L.  Pratt  are  six  in  number.* 1  All  are 
about  life-size,  and  are  shown  leaning  gracefully  against  the  curve  of  the  arches. 
After  what  has  been  said  of  the  intractability  of  granite  as  a medium  for  any 

1 The  three  groups  are  reproduced  as  headpieces  to  the  three  portions  of  this  Handbook  : the  first, 
representing  Literature , to  introduce  the  present  general  description  ; that  representing  Art,  over  Mr. 
Caffin’s  essay  ; and  the  third,  representing  Science,  over  Mr.  Spofford’s. 

l7 


but  the  bolder  sorts  of  sculpture,  it  is  not  out  of  place  to  call  attention  to  the 
exceptional  delicacy  and  refinement  with  which  these  figures  have  been  chis- 
elled. They  represent,  as  has  been  said,  Literature  (the  left  hand  arch),  Science 
(in  the  centre),  and  Art  (to  the  right).  In  the  background  of  each  spandrel 
the  sculptor  has  introduced  a branch  of  walnut,  oak,  laurel,  or  maple  leaves. 
Of  the  figures  themselves,  the  two  to  the  left  stand  respectively  for  the  contem- 
plative and  the  productive  sides  of  Literature  — reflection  and  composition. 
The  one  is  writing  upon  a tablet,  although  for  a moment  she  turns  aside  as  if 
in  search  of  the  fitting  phrase ; while  the  other,  at  the  right,  with  a hood  over 
her  head  and  a book  held  idly  in  her  hand,  gazes  out  dreamily  into  the  distance. 
Of  the  figures  of  Science,  the  first  holds  the  torch  of  knowledge,  and  the  sec- 
ond, with  the  celestial  globe  encircled  by  the  signs  of  the  zodiac  in  her  arm, 
looks  upward,  as  if  to  observe  the  courses  of  the  stars.  Here,  also,  it  will  be 
seen  that  something  of  the  same  distinction  as  in  the  first  arch  is  drawn 
between  the  abstract  and  the  practical.  In  the  third  group,  the  figure  to  the 
left  represents  Sculpture,  and  that  to  the  right,  Painting.  The  latter  busies 
herself  with  the  palette  and  brush.  Sculpture,  with  a mallet  in  her  hand,  is 
studying  a block  of  marble  in  which  she  has  already  blocked  out  the  head  and 
features  of  a bust  — that  of  the  poet  Dante. 

THE  MAIN  ENTRANCE. 

The  three  deep  arches  of  the  Entrance  Porch  terminate  with  three  massive 
bronze  doors,  covered  with  a design  of  rich  sculptural  ornament  in  relief.  Each 
is  fourteen  feet  high  to  the  top  of  the  arch,  with  an  extreme  width,  including 
the  framing,  of  seven  and  a half  feet,  and  a total  weight  of  about  three  and  a 
half  tons.  The  subject  of  the  decoration  is,  in  the  central  door,  The  Art  of 
Printing , modelled  by  Mr.  Frederick  Macmonnies;  in  the  door  to  the  left, 
Tradition , by  the  late  Olin  L.  Warner ; and  to  the  right,  Writing , begun  by  Mr. 
Warner,  but  left  unfinished  at  his  death  (in  August,  1896),  and  completed  by 
Mr.  Herbert  Adams.  The  three  thus  indicate  in  a regular  series  — the  sequence 
of  which,  of  course,  is  Tradition,  Writing,  and  Printing  — the  successive  and 
gradually  more  perfect  ways  in  which  mankind  has  preserved  its  religion,  his- 
tory, literature,  and  science.  Each  of  the  doors  is  double,  with  a tympanum  at 
the  top  closing  the  arch.  The  various  portions  of  the  design  are  comprised 
in  a high  and  rather  narrow  panel  in  each  leaf,  with  small  panels  above  and 
below,  and  finally  the  large  semicircular  panel  occupying  the  tympanum  above. 

Mr.  Warner’s  Bronze  Doors.  — Mr.  Warner’s  first  door,  Tradition , illus- 
trates the  method  by  which  all  knowledge  was  originally  handed  down  from 
generation  to  generation.  The  background  of  the  panel  in  the  larger  tympa- 
num is  a mountainous  and  cloudy  landscape,  conveying  admirably,  says  one 
critic  \ “ a sense  of  prehistoric  vastness  and  solitude.”  In  the  centre  is  a 
woman,  the  embodiment  of  the  subject,  seated  on  a throne.  Against  her  knee 
leans  a little  boy,  whom  she  is  instructing  in  the  deeds  and  worship  of  his 
fathers.  The  visitor  will  not  fail  to  notice  the  unusual  expressiveness  of  the 
group  — the  boy  with  eager,  attentive  face,  and  the  woman  holding  his  hand  in 
one  of  hers,  and  raising  the  other  in  a gesture  of  quiet  but  noble  emphasis. 
Seated  on  the  ground,  two  on  either  side,  and  listening  intently  to  her  words, 
are  an  American  Indian,  holding  a couple  of  arrows  in  his  hand ; a Norseman, 


1 Mr.  W.  C.  Brownell,  in  Scribner’s  Monthly. 


with  his  winged  steel  cap ; a prehistoric  man,  with  a stone  axe  lying  by  his 
side ; and  a shepherd  with  his  crook,  standing  for  the  nomadic,  pastoral  races. 
The  four  are  typical  representatives  of  the  primitive  peoples  whose  entire  lore 
was  kept  alive  by  oral  tradition.  The  face  of  the  Indian  is  understood  to  be 
a portrait  of  Chief  Joseph,  of  the  Nez  Perces  tribe,  from  a sketch  made  from 
life  by  Mr.  Warner  in  1889. 

Of  the  panels  below,  that  to  the  left  contains  the  figure  of  a woman  holding 
a lyre,  and  the  other  the  figure  of  a warrior’s  widow  clasping  the  helmet  and 
sword  of  her  dead  husband  to  her  breast.  The  first  represents  Imagination , 
and  the  second  Memory , the  former 
being  the  chief  quality  which  distin- 
guishes the  nobler  sorts  of  traditional 
literature,  as  exemplified  in  the  true 
epics,  springing  from  the  folk- tales  of 
the  people,  and  the  latter  standing  for 
that  heroic  past  with  which  it  so  con- 
stantly deals. 

The  same  general  arrangement  of 
figures  is  followed  in  the  second  door 
— the  one  representing  Writing  — as  in 
the  first.  In  the  tympanum  of  the  door, 
a female  figure  is  seated  in  the  centre, 
holding  a pen  in  her  hand  and  with  a 
scroll  spread  open  in  her  lap.  Beside 
her  stand  two  little  children,  whom  she 
is  teaching  to  read  or  write.  To  the 
right  and  left  are  four  figures  representing 
the  peoples  who  have  had  the  most  in- 
fluence on  the  world  through  their  written 
memorials  and  literature  — the  Egyptian 
and  the  Jew  to  the  right,  and  the 
Christian  and  Greek  to  the  left.  The 
Jew  and  the  Christian  are  represented 
as  kneeling,  in  allusion  to  the  religious 
influence  which  they  have  exerted.  The 
former  holds  a staff  in  his  hand,  and 
may  be  taken  as  one  of  the  ancient 
Jewish  patriarchs ; the  latter  bears  a 
cross.  The  Greek  has  a lyre,  for  Poetry, 
and  the  Egyptian  holds  a stylus  in  his 
hand. 

The  standing  figures  in  the  door  proper  are  of  women,  and  represent  Truth 
(on  the  right)  and  Research  (on  the  left).  Research  holds  the  torch  of 
knowledge  or  learning,  and  Truth  a mirror  and  a serpent,  the  two  signifying 
that  in  all  literature,  wisdom  (of  which  the  serpent  is  the  emblem)  and  care- 
ful observation  (typified  by  the  mirror,  with  its  accurate  reflection  of  external 
objects)  must  be  joined  in  order  to  produce  a consistent  and  truthful  impres- 
sion upon  the  reader.  The  smaller  panels  below  contain  a design  of  conventional 
ornament  with  cherubs  or  geniuses  supporting  a cartouche,  on  which  the  mirror 
or  serpent  of  the  larger  panels  is  repeated. 


BRONZE  DOOR,  MAIN  ENTRANCE. 
BY  OLIN  L.  WARNER. 


Mr.  Macmonnies’s  Bronze  Door.  — In  Mr.  Macmonnies’s  design  the 
tympanum  is  occupied  by  a composition  which  he  has  entitled,  Minerva  Diffus- 
ing the  Products  of  Typographical  Art.  The  Goddess  of  Learning  and  Wisdom 
— a fit  guardian  to  preside  at  the  main  portal  of  a great  library  — is  seated  in 
the  centre  upon  a low  bench.  On  either  side  is  a winged  genius,  the  messen- 
gers of  the  goddess,  each  carrying  a load  of  ponderous  folios  which  she  is 
dispatching  as  her  gift  to  mankind.  To  the  right  is  her  owl,  perched  solemnly 
on  the  bench  on  which  she  is  sitting.  She  wears  the  conventional  helmet  and 
breastplate  — the  latter  the  ^Egis,  with  its  Medusa’s  Head  — of  ancient  art, 
but  in  her  wide,  full  skirt,  with  its  leaf-figure  pattern,  the  artist  has  adopted  a 
more  modern  motive.  The  Latin  title  of  Mr.  Macmonnies’s  subject,  Ars 
Typographical  and  various  symbolical  ornaments  are  introduced  in  the  back- 
ground. To  the  left  and  right,  enclosed  in  a laurel  wreath,  are  a Pegasus  and 
a stork.  The  former  stands,  of  course,  for  the  poetic  inspiration  which  gives 


TRADITION — TYMPANUM  OF  BRONZE  DOOR  — BY  OLIN  L.  WARNER. 


value  to  literature.  The  stork,  commonly  symbolizing  filial  piety,  may  be  taken 
here,  if  one  chooses,  as  typifying  the  faithful  care  of  the  inventors  of  printing 
and  their  disciples  in  multiplying  the  product  of  that  inspiration.  To  the  left, 
also,  are  an  hour-glass,  an  inking-ball,  and  a printer’s  stick ; and  on  the  other 
side  of  the  panel,  an  ancient  printing-press. 

Each  of  the  small  panels  in  the  upper  portion  of  the  doors  below  is  in  the 
shape  of  a tympanum,  and  is  occupied  by  a conventionally  decorative  design 
composed  of  a wreath  with  floating  ribbons,  enclosing  a cartouche  on  which  are 
inscribed  the  words  “ Honor  to  Gutenberg  ” — the  Inventor  of  Printing.  Each 
of  the  upright  panels  contains  the  figure  of  a young  and  beautiful  woman,  clad 
in  a robe  of  the  same  design  as  that  worn  by  Minerva,  and  carrying  two  tall 
flaming  torches.  The  figure  in  the  left-hand  leaf  represents  The  Humanities , 
the  soft  contours  of  her  face  expressing  the  gentle  and  generous  liberalities  of 
learning.  Her  companion  stands  for  Intellect \ and  the  lines  of  her  face  are  of 
a bolder  and  severer  character. 


20 


Entering  by  either  of  these  three  bronze  doors,  one  passes  immediately 
through  a deep  arch  into  the  Main  Entrance  Hall.  It  is  constructed  of  gleam- 
ing white  Italian  marble,  and  occupies  very  nearly  the  whole  of  the  Entrance 
Pavilion.  By  reason  of  a partial  division  of  the  hall  into  stories  and  open 
corridors,  and  on  account  of  the  splendor  and  variety  of  the  decoration  every- 
where so  liberally  applied,  the  eye  is  attracted  to  a number  of  points  of  interest 
at  once.  The  arrangement,  however,  is  really  simple  and  well  defined,  as 
may  be  seen  by  looking  at  the  plan  on  page  9.  With  the  exception  of 
a portion  of  the  attic  story  and  of  two  or  three  small  rooms  partitioned  off 
in  the  southeast  and  northeast  corners  of  the  first  floor,  the  entire  pavilion 
serves  as  a single  lofty  and  imposing  hall.  In  the  centre  is  a great  well,  the 
height  of  the  pavilion  — seventy-five  feet — enclosed  in  an  arcade  of  two  stories, 
the  arches  of  the  first  supported  on  heavy  piers  and  of  the  second  on  paired 
columns.  The  centre  of  the  well  is  left  clear ; on  either  side,  north  and  south, 
is  a massive  marble  staircase,  richly  ornamented  with  sculpture.  On  the  east 
side  of  the  pavilion  a broad  passageway,  treated  as  a part  of  the  general 
architectural  scheme  of  the  Entrance  Hall  — though  really  an  arm  of  the 
interior  cross  already  referred  to  — connects  it  with  the  Main  Reading 
Room. 

The  Vestibule. — The  arcades  surrounding  the  well,  or  Staircase  Hall,  as 
it  would  better  be  called,  screen  two  stories  of  corridors.  The  corridor  which 
the  visitor  has  now  entered  — the  West  Corridor,  on  the  library  floor  — serves 
as  the  general  vestibule  of  the  building,  and  appropriately,  therefore,  is  more 
sumptuously  decorated  than  any  of  the  others.  The  most  striking  feature  is  a 
heavily  panelled  ceiling,  finished  in  white  and  gold  — perhaps  as  fine  an 
example  of  gold  ornamentation  on  a large  scale  as  can  be  found  in  the  country. 
It  is  impressively  rich  and  elegant  without  in  the  least  overstepping  the  line  of 
modesty  and  good  taste. 

The  corridor  is  bounded  by  piers  of  Italian  marble  ornamented  with  pilasters. 
There  are  five  piers  on  each  side,  those  on  the  west  terminating  the  deep  arches 
of  the  doors  and  windows,  and  one  at  either  end.  It  will  be  noticed  that  these 
piers,  like  all  the  others  on  this  floor,  are  wider  than  they  are  deep,  so  that  the 
arches  they  support  are  of  varying  depth  — the  narrow  ones  running  from  north 


21 


to  south,  and  the  deeper  ones  from  east  to  west,  invariably.  This  difference  of 
depth,  both  of  the  piers  and  of  the  arches,  is  apt  to  be  somewhat  bewildering 
until  one  perceives  the  system  on  which  it  is  based,  so  that  it  may  be  well  to  add 
in  this  connection  that  the  same  rule  of  broad  and  narrow,  and  the  direction  in 
which  each  kind  runs,  holds  good,  also,  of  the  corridors  on  the  second  floor,  the 
only  variation  being  that  paired  columns,  as  has  already  been  pointed  out,  are 
substituted  for  piers. 

The  Stucco  Decoration  of  the  Vestibule Above  the  marble  arches 

of  the  Vestibule  the  wall  with  its  ornamentation,  and  the  whole  of  the  panelled 
ceiling,  are  of  stucco.  By  the  use  of  this  material,  especially  in  connection 
with  the  gold,  the  architect  has  succeeded  in  obtaining  a warmer  and  softer 

tone  of  white  than  would  have  been  possible  in 
marble. 

Above  each  of  the  side  piers  are  two  white-and- 
gold  consoles,  or  brackets,  which  support  the 
panelled  and  gilded  beams  of  the  ceiling.  In  front 
of  every  console  — and  almost,  but  not  quite, 
detached  from  it  — springs  a figure  of  Minerva, 
left  the  natural  white  of  the  stucco.  The  figures 
are  about  three  feet  in  height,  and  were  executed 
from  two  different  models,  each  the  work  of  Mr. 
Herbert  Adams.  They  are  skilfully  composed  in 
pairs : the  first  (the  Minerva  of  War)  carrying 
in  one  hand  a falchion  or  short,  stout  sword,  and 
in  the  other  holding  aloft  the  torch  of  learning ; 
and  the  second  (the  Minerva  of  Peace)  bearing 
a globe  and  scroll  — the  former  significant  of 
the  universal  scope  of  knowledge.  Although 
thus  differing,  the  figures  are  of  the  same  type ; 
both  wear  the  Higis  and  the  same  kind  of  casque, 
and  both  are  clad  in  the  same  floating  classic 
drapery. 

Modelled  in  relief  upon  the  wall  between  the 
two  Minervas  is  a splendid  white-and-gold  Greek 
altar,  used  as  an  electric  light  standard.  The  bowl 
is  lined  with  a circle  of  large  leaves,  from  which 
springs  a group  of  nine  lamps,  suggesting,  when 
lighted,  a cluster  of  some  brilliant  kind  of  fruit. 
Above  the  piers  at  either  end  of  the  corridor  is  another  altar,  somewhat  nar- 
rower and  of  a different  design,  but  used  for  the  same  purpose. 

It  should  be  noted  that,  for  the  most  part,  both  in  the  ceiling  and  on  the 
walls,  the  gold  has  been  dulled  or  softened  in  tone  in  order  to  avoid  any 
unpleasing  glare  or  contrast  with  the  white.  This  effect,  however,  is  regularly 
relieved  by  burnishing  the  accentuating  points  in  certain  of  the  mouldings. 

The  Marble  Flooring.  — Before  leaving  the  Vestibule,  the  visitor  may  be 
interested  to  notice  the  design  of  the  marble  flooring.  The  body  of  it  is 
white  Italian,  with  bands  and  geometric  patterns  of  brown  Tennessee,  and 
edgings  of  yellow  mosaic.  It  will  be  seen  at  once  that  the  design  is  harmoni- 
ous with  the  lines  of  the  arcade  and  the  ceiling.  These  are  not  slavishly  mim- 
icked, but  are  developed,  varied,  and  extended.  Sometimes  a circle  is  used  to 


THE  MINERVA  OF  WAR. 

BY  HERBERT  ADAMS. 


22 


draw  together  two  opposite  arches ; sometimes  a square  echoes  the  pattern  of 
the  ceiling ; lines  of  beaming  — as  they  may  be  called  in  an  easy  metaphor  — 
connect  opposite  piers ; and  finally  the  boundaries  of  the  corridor  are  outlined 
in  a broad  border  enclosing  the  whole.  It  has  been  said  that  in  hardly  any 
other  building  in  the  country  has  so  much  pains  been  taken  by  the  architect  to 
make  the  lines  of  his  floor  designs  consistent  with  those  of  the  achitecture  and 
the  general  decorative  scheme.  Throughout  the  Library,  wherever  marble  or 
mosaic  is  used  for  this  purpose,  the  visitor  will  find  this  phase  of  the  ornamenta- 
tion of  the  building  of  the  highest  interest  and  importance. 

The  Staircase  Hall.  — The  floor  of  the  Staircase  Hall,  into  which  one 
passes  next,  is  an  ex- 
cellent example  of  this 
point.  Besides  the 
marble,  the  pattern 
contains  a number  of 
modelled  and  incised 
brass  inlays.  The  one 
in  the  centre  is  a large 
rayed  disc,  or  conven- 
tional sun,  on  which 
are  noted  the  four 
cardinal  points  of  the 
compass,  which  coin- 
cide with  the  direction 
of  the  main  axes  of 
the  Library.  The  disc 
thus  performs  the  same 
service  for  the  building 
— only  more  pictures- 
quely and  vividly  — as 
an  arrow-head  cross  for 
a chart  or  plan.  From 
the  sun  as  a centre 
proceeds  a great  cir- 
cular glory — or  “ scale 
pattern,”  as  it  is  tech- 
nically, and  more  des- 
criptively, called  — of 
alternate  red  and  yel- 
low Italian  marble,  the  former  from  Verona  and  the  latter  from  Sienna.  Other 
inlays  are  arranged  in  a hollow  square,  enclosing  the  sun  as  a centrepiece. 
Twelve  represent  the  signs  of  the  zodiac ; the  others  are  in  the  form  of  rosettes, 
in  two  patterns.  They  are  embedded  in  blocks  of  dark  red,  richly  mottled, 
French  marble,  around  which  are  borders  of  pure  white  Italian  marble. 

The  Commemorative  Arch.  — On  the  easterly  side  of  the  Staircase 
Hall,  on  the  way  to  the  Reading  Room,  the  regularity  of  the  arcade  is  in- 
terrupted by  a portico  of  equal  height,  which  does  duty  as  a sort  of  minia- 
ture triumphal  arch,  commemorating  the  erection  of  the  Library.  The  span  - 
drels contain  two  sculptured  figures  in  marble  by  the  late  Olin  L.  Warner, 
the  sculptor  of  the  bronze  doors  previously  described.  Along  the  frieze  are 


THE  MAIN  VESTIBULE. 


the  words  LIBRARY  OF  CONGRESS,  inscribed  in  tall  gilt  letters.  A second 
inscription,  giving  the  names  of  those  concerned  in  the  erection  of  the  Library, 
is  cut  upon  the  marble  tablet  which  forms  part  of  the  parapet  above.  It  is 
flanked  by  lictors’  axes  and  eagles,  sculptured  in  marble,  and  reads  as  follows : 


ERECTED  UNDER  THE  ACTS  OF  CONGRESS  OF 
APRIL  15  1886  OCTOBER  2 1 888  AND  MARCH  2 1889  BY 
BRIG.  GEN.  THOS.  LINCOLN  CASEY 
CHIEF  OF  ENGINEERS  U.  S.  A. 

BERNARD  R.  GREEN  SUPT.  AND  ENGINEER 
JOHN  L.  SMITHMEYER  ARCHITECT 
PAUL  J.  PELZ  ARCHITECT 
EDWARD  PEARCE  CASEY  ARCHITECT 


Mr;  Warner’s  Spandrel  Figures.  — Mr.  Warner’s  figures  in  the  span- 
drels of  this  commemorative  arch  are  life-size,  and  are  entitled  The  Students . 


Both  figures — one  in  either  span- 
drel — are  represented  in  an  easy, 
but  dignified  and  sculptural  atti- 
tude, leaning  on  one  arm  against 
the  curve  of  the  arch.  That  to  the 
left  is  of  a young  man  seeking  to 
acquire  from  books  a knowledge 
of  the  experience  of  the  past. 
That  to  the  right  is  an  old  man 
with  flowing  beard,  absorbed  in 
meditation.  He  is  no  longer  con- 
cerned so  much  with  books  as  with 
observation  of  life  and  with  original 
reflection  and  thought.  The  sculp- 
tor has  thus  naturally  indicated  the 
development  of  a scholar’s  mind, 


AMERICA  AND  AFRICA.  — BY  PHILIP  MARTIN Y. 


from  youth  to  old  age.  As  an  ornament  of  the  approach  to  the  Reading 
Room,  the  appropriateness  of  the  figures  is  obvious. 

Within  the  arch,  the  pier  on  either  side  is  decorated  with  a bit  of  relief 
work,  consisting  of  the  seal  of  the  United  States  flanked  by  sea-horses,  by  Mr. 
Philip  Martiny.  It  is  Mr.  Martiny’s  sculpture,  also,  which  ornaments  the  stair- 
case, the  coved  ceiling,  and  the  lower  spandrels  of  the  Staircase  Hall.  With 
the  exception  of  Mr.  Warner’s  figures,  just  described,  and  of  a series  of  car- 
touches  and  corner  eagles  which  occupy  the  spandrels  of  the  second-story 
arcade  — the  work  of  Mr.  Weinert  — Mr.  Martiny  has  this  central  hall  to  him- 
self, so  far  as  the  sculpture  is  concerned. 

Mr.  Martiny’s  Staircase  Figures. — The  spandrels  in  the  first  story 
are  unusually  delicate  and  pretty.  The  design  comprises  wreaths  of  roses  and 
oak  and  laurel  leaves,  with  oak  or  palm  for  a background.  It  is  in  the  stair- 
cases, however,  that  Mr.  Martiny’s  work  is  most  varied  and  elaborate.  On 
the  piers  between  which  they  descend  into  the  hall,  he  has  sculptured  a strik- 
ing female  head  of  the  classic  type,  with  a garland  below  and  a kind  of  foliated 
arabesque  on  either  side.  Upon  the  newel  post  which  terminates  the  railing 


24 


of  each  staircase  is  placed  a bronze  female  figure  upholding  a torch  for  electric 
lights.  The  two  figures  are  somewhat  taller  than  life,  measuring  six  and  a half 
feet,  or  eight  feet  to  the  top  of  the  torch,  and  ten  feet  including  the  rounded 
bronze  base  on  which  they  stand.  Each  has  a laurel  wreath  about  her  head, 
and  is  clad  in  classic  drapery. 

Halfway  up  the  staircase  is  a sort  of  buttress,  which  serves  as  a pedestal  for 
a group  representing,  on  the  south  side  of  the  hall,  Africa  and  America,  and 
on  the  other  side,  Europe  and  Asia.  The  four  continents  are  typified,  very 
delightfully,  by  little  boys,  about  three  feet  high,  seated  by  the  side  of  a large 
marble  globe,  on  which  appear  the  portions  of  the  earth’s  surface  which  they 
are  intended  to  personify. 

America  is  an  Indian,  with 
a tall  headdress  of  feathers, 
a bow  and  arrow,  and  a 
wampum  necklace.  With 
one  hand  he  shades  his  eyes 
while  he  gazes  intently  into 
the  distance,  awaiting,  one 
may  fancy,  the  coming  of 
his  conqueror,  the  white 
man.  Africa  is  a little 
negro,  with  a war-club  and 
his  savage  necklace  of  wild 
beasts’  claws.  Asia  is  a 
Mongolian,  dressed  in  flow- 
ing silk  robes,  the  texture 
of  which,  as  the  visitor  will 
notice,  is  very  perfectly  in- 
dicated by  arranging  the 
folds  of  the  marble  so  that 
they  receive  the  proper 
play  of  light  and  shade. 

In  the  background  is  a sort 
of  dragon- shaped  jar  of 
porcelain.  Europe  is  clad 
in  the  conventional  classic 
costume,  and  has  a lyre  and 
a book;  and  a Doric 
column  is  introduced  be- 
side him  — the  three  objects  symbolizing,  specifically,  Music,  Literature,  and 
Architecture,  and,  more  broadly,  the  pre-eminence  of  the  Caucasian  races  in 
the  arts  of  civilization  generally,  just  as  the  dragon-jar  on  the  other  side  of 
the  globe  stands  for  the  admirable  ceramic  art  of  China  and  Japan ; and, 
also,  as  the  wampum  and  bow  of  the  Indian  indicate  his  advance  in  culture 
over  the  stage  of  evolution  typified  by  the  rude  war-club  and  savage  neck- 
lace of  the  negro. 

The  balustrade  of  the  top  landing  on  either  side  is  ornamented  with  the  fig- 
ures of  three  children  in  relief  representing  certain  of  the  Fine  Arts.  In  the 
south  staircase,  beginning  at  the  left  as  one  looks  up  from  the  floor,  are  Com- 
edy, Poetry , and  Tragedy.  The  first  has  a comic  mask  and  the  thyrsus  or  ivy- 

25 


THE  COMMEMORATIVE  ARCH. 


wreathed  wand  of  Bacchus,  to  whom  the  first  comedies  were  dedicated. 
Poetry  has  a scroll,  and  Tragedy  the  tragic  mask.  Opposite,  the  figures,  taking 
them  again  from  left  to  right,  represent  Painting,  with  palette  and  brushes ; 
Architecture , with  compasses  and  a scroll,  and  behind  him  the  pediment  of  a 
Greek  temple ; and  Sculpture , modelling  a statuette. 


In  the  ascending  railing  of  each  staircase  Mr.  Martiny  has  introduced  a 
series  of  eight  marble  figures  in  high  relief.  These,  also,  are  of  little  boys,  and 
represent  various  occupations,  habits  and  pursuits  of  modern  life.  The  pro- 
cession is  bound  to- 
gether by  a garland 
hanging  in  heavy 
festoons,  and  be- 
neath is  a heavy 
laurel  roll.  In  the 
centre  the  series  is 
interrupted  by  the 
group  on  the  but- 
tress just  described. 
At  the  bottom  it 
begins  quaintly  with 
the  figure  of  a stork. 
Thence,  on  the 
south  side  of  the 
hall,  the  list  of  sub- 
jects is  as  follows : 
A Mechanician, 
with  a cog-wheel, 
a pair  of  pincers, 
and  a crown  of  lau- 
rel, signifying  the 
triumphs  of  inven- 
tion ; a Hunter, 
with  his  gun,  hold- 
ing up  by  the  ears 
a rabbit  which  he 
has  just  shot ; an  in- 
fant Bacchanalian, 
with  Bacchus’s  ivy 
and  panther  skin, 

DETAIL  OF  THE  GRAND  STAIRCASE.  hilariously  holding 

a champagne  glass 

in  one  hand ; a Farmer,  with  a sickle  and  a sheaf  of  wheat;  a Fisherman,  with 
rod  and  reel,  taking  from  his  hook  a fish  which  he  has  landed  ; a little  Mars,  pol- 
ishing a helmet ; a Chemist,  with  a blow-pipe ; and  a Cook,  with  a pot  smok- 
ing hot  from  the  fire. 

In  the  north  staircase  are  : A Gardener,  with  spade  and  rake  ; an  Entomolo- 
gist, with  a specimen-box  slung  over  his  shoulder,  running  to  catch  a butterfly 
in  his  net ; a Student,  with  a book  in  his  hand  and  a mortar-board  cap  on  his 
head ; a Printer,  with  types,  a press,  and  a type-case ; a Musician,  with  a lyre 
by  his  side,  studying  the  pages  of  a music  book ; a Physician,  grinding  drugs 


26 


in  a mortar,  with  a retort  beside  him,  and  the  serpent  sacred  to  medicine ; an 
Electrician,  with  a star  of  electric  rays  shining  on  his  brow  and  a telephone 
receiver  at  his  ear ; and  lastly,  an  Astronomer,  with  a telescope,  and  a globe 
encircled  by  the  signs  of  the  zodiac  which  he  is  measuring  by  the  aid  of  a pair 
of  compasses. 

The  Ceiling  of  the  Staircase  Hall.  — Beneath  the  second-story  car- 
touches  on  the  east  and  west  sides  of  the  hall  are  tablets  inscribed  in  gilt  letters 
with  the  names  of  the  following  authors  : Longfellow,  Tennyson,  Gibbon,  Cooper, 
Scott,  Hugo,  Cervantes.  A single  moulding  in  the  marble  cornice  above  is 
touched  with  gold,  as  an  introduction  to  the  rich  coloring  and  profuse  use  of 
gilding  in  the  coved  ceiling  which  it  supports.  The  cove  itself  is  of  stucco, 
and  is  painted  blue  — the  color  of  the  sky,  which  it  is  intended  to  suggest  — 
with  yellow  penetrations.  These  penetrations  are  outlined  by  a heavy  gilt 
moulding,  and  give  space  for  ten  semicircular  latticed  windows  opening  into 
the  rooms  of  the  attic 
story.  In  the  centre 
of  each  penetration  is 
painted  a white  tablet 
supported  by  dolphins, 
and  bearing  the  name 
of  some  illustrious 
author  — Dante,  Ho- 
mer, Milton,  Bacon, 

Aristotle,  Goethe, 

Shakespeare,  Moliere, 

Moses,  and  Herodotus. 

In  each  corner  of  the 
cove  are  two  female 
half-figures,  as  they  are 
called,  supporting  a 
cartouche,  on  which 
are  a lamp  and  a book, 
the  conventional  sym- 
bols of  learning.  The 
figures  and  cartouche 
are  of  stucco,  and  were  modelled  by  Mr.  Martiny.  Around  them  the  cove  is 
sprinkled  with  stars.  Higher  up  are  the  figures  of  flying  geniuses,  two  in  each 
corner,  painted  by  Mr.  Frederick  C.  Martin,  of  Mr.  Garnsey’s  staff. 

Between  the  penetrations,  the  curve  of  the  cove  is  carried  upon  heavy  gilt 
ribs,  richly  ornamented  with  bands  of  fruit.  In  the  spandrel-shaped  spaces  thus 
formed  on  either  side,  Mr.  Martin  has  painted  another  series  of  geniuses,  which, 
by  reason  of  the  symbolical  objects  which  accompany  them,  reflect  very 
pleasantly  the  intention  of  Mr.  Martiny’s  sculpture  in  the  staircases  below.  The 
significance  of  most  of  the  things  they  bear  is  obvious.  Beginning  at  the  south- 
west corner,  and  going  to  the  right,  the  list  is  as  follows  : a pair  of  Pan’s  pipes ; 
a pair  of  cymbals ; a caduceus,  or  Mercury’s  staff ; a bow  and  arrows ; a shep- 
herd’s crook  and  pipes ; a tambourine ; a palette  and  brushes ; a torch ; a 
clay  statuette  and  a sculptor’s  tool ; a bundle  of  books ; a triangle  ; a second 
pair  of  pipes;  a lyre  ; a palm  branch  and  wreath  (the  rewards  of  success)  ; a 
trumpet ; a guitar ; a compass  and  block  of  paper  (for  Architecture)  ; a censer 

27 


(for  Religion)  ; another  torch;  and  a scythe  and  hour-glass  — the  attributes  of 
Father  Time. 

The  ceiling  proper  rests  upon  a white  stylobate  supported  on  the  cove.  It 
is  divided  by  heavy  beams,  elaborately  panelled,  and  ornamented  with  a profusion 
of  gilding,  and  contains  six  large  skylights,  the  design  of  which  is  a scale  pattern, 
chiefly  in  blues  and  yellows,  recalling  the  arrangement  in  the  marble  flooring 
beneath. 

First  Floor  Corridors:  the  Mosaic  Vaults. — The  North,  South,  and 
East  Corridors  on  the  first  floor  of  the  Entrance  Hall  are  panelled  in  Italian 
marble  to  the  height  of  eleven  feet,  and  have  floors  of  white,  blue,  and  brown 
(Italian,  Vermont,  and  Tennessee)  marble,  and  beautiful  vaulted  ceilings  of 
marble  mosaic.  These  last  will  immediately  attract  the  attention  of  the  visitor. 
The  working  cartoons  were  made  by  Mr.  Herman  T.  Schladermundt  from  pre- 
liminary designs  by  Mr.  Casey  as  architect.  The  body  of  the  design  is  in  a light, 
warm  grayish  tone,  relieved  by  richly  ornamental  bands  of  brown  which  follow 
pretty  closely  the  architectural  lines  of  the  vaulting  — springing  from  pier  to 
pier  or  outlining  the  penetrations  and  pendentives.  In  all  three  corridors 
tablets  bearing  the  names  of  distinguished  men  are  introduced  as  a part  of  the 
ornament,  and  in  the  East  Corridor  are  a number  of  discs,  about  eighteen 
inches  in  diameter,  on  which  are  depicted  “ trophies,”  as  they  are  called,  em- 
blematic of  various  arts  and  sciences,  each  being  made  up  of  a group  of  repre- 
sentative objects  such  as  the  visitor  has  seen  used  to  distinguish  the  subjects  of 
Mr.  Martiny’s  staircase  figures. 

The  method  of  making  and  setting  such  a mosaic  ceiling  is  interesting 
enough  to  be  described.  The  artist's  cartoon  is  made  full  size  and  in  the 
exact  colors  desired.  The  design,  color  and  all,  is  carefully  transferred  by 
sections  to  thicker  paper,  which  is  then  covered  with  a coating  of  thin  glue.  On 
this  the  workman  carefully  fits  his  material,  laying  each  stone  smooth  side  down. 
The  ceiling  itself  is  covered  with  a layer  of  cement,  to  which  the  mosaic  is 
applied.  The  paper  is  then  soaked  off,  and  the  design  pounded  in  as  evenly  as 
possible,  pointed  off,  and  oiled.  As  the  visitor  may  see,  however,  it  is  not 
polished,  like  a mosaic  floor,  but  is  left  a little  rough  in  order  to  give  full  value 
to  the  texture  of  the  stone. 

At  the  east  end  of  the  North  and  South  Corridors  is  a large  semi-elliptical 
tympanum,  twenty-two  feet  long.  Along  the  walls  are  smaller  tympanums, 
below  the  penetrations  of  the  vault.  At  the  west  end,  over  the  arch  of  the 
window,  is  a semicircular  border.  These  spaces  are  occupied  by  a series  of 
paintings  — in  the  North  Corridor  by  Mr.  Charles  Sprague  Pearce,  and  in  the 
South  Corridor  by  Mr.  H.  O.  Walker.  Like  most  of  the  special  mural  decora- 
tions in  the  Library,  they  are  executed  in  oils  on  canvas,  which  is  afterwards 
affixed  to  the  wall  by  a composition  of  whitelead. 

Mr.  Pearce’s  Paintings.  — Mr.  Pearce’s  decorations  are  seven  in  number. 
The  subject  of  the  large  tympanum  at  the  east  end  is  The  Family}  The  smaller 
panels  along  the  north  wall,  taking  them  from  left  to  right,  are  entitled 
Religion , Labor , Study , and  Recreation.  The  single  painting  on  the  south  side 
of  the  corridor,  occurring  opposite  the  panel  of  Recreation,  represents  Rest. 
The  broad,  arched  border  at  the  west  end  contains  two  female  figures  floating 


1 The  panel  of  The  Family  is  shown  in  the  view  of  the  North  Corridor,  given  on  the  oppo- 
site page.  The  border  referred  to  a few  lines  below  is  reproduced  in  the  Handbook  on  Page  21,  as 
a heading  to  the  present  description  of  the  Main  Entrance  Hall. 


28 


in  the  air  and  holding  between  them  a large  scroll  on  which  is  inscribed  the 
sentence,  from  Confucius  : “ Give  instruction  unto  those  who  cannot  procure 
it  for  themselves.” 

The  series,  as  seen  by  the  list  of  titles  just  given,  illustrates  the  main  phases 
of  a pleasant  and  well-ordered  life.  The  whole  represents  the  kind  of  idyllic 
existence  so  often  imagined  by  the  poets  — showing  a people  living  in  an 
Arcadian  country  in  a state  of  primitive  simplicity,  but  possessing  the  arts  and 
habits  of  a refined  cultivation.  This  life  is  very  well  summed  up  in  the  first  of 
Mr.  Pearce’s  paintings  — that  representing  The  Family.  The  subject  is  the 
return  of  the  head  of  the  household  to  his  family,  after  a day  spent  in  hunting. 
He  stands  in  the  centre,  his  bow  not  yet  unstrung,  receiving  a welcome  home. 
His  aged  mother,  with  her  hands  clasped  over  the  head  of  her  staff,  looks  up 
from  the  rock  on  which  she  is  sitting,  and  the  gray-bearded  father  lays  aside  the 


THE  NORTH  CORRIDOR.  — MAIN  ENTRANCE  HALL. 

scroll  in  which  he  has  been  reading.  The  hunter’s  little  girl  has  hold  of  his 
garment,  and  his  wife  holds  out  his  baby  son.  An  older  daughter  leans  her 
elbow  against  a tree.  The  scene  is  in  the  open  air,  at  the  mouth  of  a cave, 
with  a view  beyond  into  a wooded  valley  bounded  by  high  mountains. 

The  smaller  tympanums  illustrate  the  simple  occupations  and  relaxations  of 
such  an  existence  as  is  here  depicted.  Recreation  shows  two  girls  in  a glade  of 
the  forest  playing  upon  a pipe  and  a tambourine.  In  the  panel  of  Study,  a girl, 
sitting  with  her  younger  companion  on  a great  rock,  is  instructing  her  with  the 
aid  of  a book  and  compasses  and  paper.  Labor  is  represented  by  two  young 
men  working  in  the  fields.  One  is  removing  the  stump  of  a tree,  and  the 
other  is  turning  over  the  newly  cleared  soil  to  fit  it  for  planting.  In  Religion , 
a young  man  and  a girl  are  kneeling  before  a blazing  altar  constructed  of  two 
stones,  one  set  upon  the  other.  In  Rest,  two  young  women  are  sitting  quietly 
beside  a pool,  where  they  have  come  with  their  earthen  jars  for  water. 

29 


The  penetrations  in  the  vault  of  Mr.  Pearce’s  corridor  contain  the  names  of 
men  distinguished  for  their  work  in  furthering  the  cause  of  education  : Froebel, 
Pestalozzi,  Comenius,  Ascham,  Howe,  Gallaudet,  Mann,  Arnold,  Spencer.  It 
is  of  some  interest  to  note  that  among  the  hundreds  of  names  inscribed  in  the 
Library  only  three  are  those  of  men  still  living.  Herbert  Spencer,  the  last- 
named  in  the  list  just  given,  is  one,  and  the  other  two  are  Alexander  Graham 
Bell  and  Thomas  A.  Edison. 

Mr.  Walker’s  Paintings.  — The  general  subject  of  Mr.  Walker’s  deco- 
rations is  Lyric  Poetry . Like  Mr.  Pearce’s,  in  the  corresponding  position,  the 
painting  in  the  large  tympanum  at  the  east  end  of  the  corridor  sums  up  in 
a general  way  the  subject  of  the  whole  series.  The  scene  is  a wood,  with  a 
vista  beyond  into  a wide  and  open  champagne.  Down  the  centre  a brook 
comes  tumbling  and  splashing  over  its  rocky  bed.  Although  wild,  and  thus 
suggestive,  perhaps,  of  the  inspiration  of  poetry,  the  landscape  purposely  has, 


RELIGION  — BY  CHARLES  SPRAGUE  PEARCE. 

as  a whole,  a touch  of  artfulness,  hinting  therefore  at  the  formalities  of  metre 
and  rhyme.  The  titles  of  the  figures  which  enter  into  the  composition  — all, 
with  one  exception,  those  of  women  — are  named  in  the  conventional  border 
with  which  the  artist  has  enclosed  his  painting.  The  figure  standing  boldly 
forward  in  the  centre  represents  Lyric  Poetry.  She  is  crowned  with  a wreath 
of  laurel,  and  is  touching  the  strings  of  a lyre.  The  feelings  which  most  com- 
monly inspire  her  song  are  personified  on  either  side.  To  her  left  are  Pathos, 
looking  upward,  as  if  calling  on  Heaven  to  allay  her  grief ; Truth,  a beautiful 
nude  woman  (the  Naked  Truth)  standing  securely  upright,  and  seeming  by 
her  gesture  to  exhort  the  central  figure  not  to  exceed  the  bounds  of  natural 
feeling ; and  in  the  corner  of  the  tympanum,  Devotion,  sitting  absorbed  in 
contemplation.  On  the  other  side  of  the  panel  are  Passion,  with  an  eager 
look,  and  her  arms  thrown  out  in  a movement  at  once  graceful  and  enrap- 
tured ; Beauty,  sitting  calmly  self-contained ; and  Mirth,  the  naked  figure  of 
a little  boy,  inviting  her  to  join  his  play. 

30 


For  the  smaller  tympanums,  Mr.  Walker  has  taken  single  youthful  male 
figures  suggested  by  various  poems  by  English  and  American  poets  — on  the 
south  side  of  the  corridor,  Tennyson,  Keats,  Wordsworth,  and  Emerson,  and 
on  the  north  side,  Milton  and  Shakespeare.  Although  not  always  from  lyrics, 
the  general  spirit  of  the  scene  selected  is  invariably  lyrical.  The  first  paint- 
ing shows  Ganymede  upon  the  back  of  the  eagle  — the  form  taken  by 
Jupiter  when  he  brought  the  boy  from  his  earthly  home  to  be  the  cup- 
bearer of  the  gods.  The  lines  referred  to  are  in  Tennyson’s  Palace  of  Art : — 

Flushed  Ganymede,  his  rosy  thigh 
Half-buried  in  the  Eagle’s  down, 

Sole  as  a flying  star  shot  thro’  the  sky 
Above  the  pillar’d  town. 

The  next  panel  represents  Endymion,  in  Keats’s  poem  of  that  name,  lying 


STUDY.  — BY  CHARLES  SPRAGUE  PEARCE. 


asleep  on  Mount  Latmos,  with  his  lover,  Diana,  the  Moon,  shining  down  upon 
him.  The  painter,  however,  had  no  special  passage  of  the  poem  in  mind. 

The  third  panel  is  based  on  Wordsworth’s  lines  beginning,  “ There  was  a 
Boy.”  A boy  is  seated  by  the  side  of  a lake  the  surface  of  which  reflects 
the  stars  : — * 

There  was  a Boy  ; ye  knew  him  well,  ye  cliffs 
And  islands  of  Winander ! — many  a time, 

At  evening,  when  the  earliest  stars  began 
To  move  along  the  edges  of  the  hills, 

Rising  or  setting,  would  he  stand  alone, 

Beneath  the  trees,  or  by  the  glimmering  lake  ; 

And  there,  with  fingers  interwoven,  both  hands 
Pressed  closely  palm  to  palm  and  to  his  mouth 
Uplifted,  he,  as  through  an  instrument, 

Blew  mimic  hootings  to  the  silent  owls, 

That  they  might  answer  him.  . . . 

3i 


Then,  sometimes,  in  that  silence,  while  he  hung 
Listening,  a gentle  shock  of  mild  surprise 
Has  carried  far  into  his  heart  the  voice 
Of  mountain-torrents  ; or  the  visible  scene 
Would  enter  unawares  into  his  mind 
With  all  its  solemn  imagery,  its  rocks, 

Its  woods,  and  that  uncertain  heaven  received 
Into  the  bosom  of  the  steady  lake. 

For  Emerson,  Mr.  Walker  has  selected  the  poem  of  Uriel , representing  the 
angel  retired  in  scorn  from  his  companions,  on  account  of  the  anger  with 
which  they  have  received  his  proposition : — 

Line  in  nature  is  not  found  ; 

Unit  and  universe  are  round  ; 

In  vain  produced,  all  rays  return ; 

Evil  will  bless,  and  ice  will  burn. 

In  the  selection  of  this  subject,  Mr.  Walker  has  commemorated  Emerson 
in  a very  interesting  personal  way  — for  the  poem  was  written  soon  after  the 

famous  Phi  Beta  Kappa 
oration  of  1838,  and  is 
understood  to  voice 
Emerson’s  feelings  re- 
garding the  storm  of  op- 
position which  that  ad- 
dress had  called  forth. 

Milton  is  represented 
by  a scene  out  of  the 
masque  of  Comus  — the 
vile  enchanter  Comus  (in 
the  guise  of  a shepherd) 
entranced  at  hearing  the 
song  of  the  Lady.  The 
words  which  he  speaks  in 
the  poem,  and  which  Mr.  Walker  seeks  to  illustrate  in  his  painting,  are  as 
follows  : — 

Can  any  mortal  mixture  of  earth’s  mould 
Breathe  such  divine  enchanting  ravishment? 

In  Shakespeare,  the  artist  has  gone  to  Venus  and  Adonis , showing  the  dead 
body  of  Adonis,  killed  by  the  boar,  lying  naked  in  the  forest.  The  painting 
refers  to  no  particular  lines  in  the  poem. 

The  broad  border  at  the  west  end  is  occupied  by  an  idyllic  summer  land- 
scape containing  three  seated  female  figures  and  a youth  — the  two  figures  to 
the  left,  one  of  them  caressing  a lamb,  representing  the  more  joyful  moods  of 
lyric  poetry,  and  the  other  two  its  more  solemn  feelings.  At  the  top  is  a 
streamer,  with  the  words,  from  Wordsworth  : — 

Xhe  Poets,  who  on  earth  have  made  us  heirs 
Of  truth  and  pure  delight  by  heavenly  lays ! 

In  the  mosaic  of  the  vault  are  the  names  of  lyric  poets,  six  Americans  occu- 
pying the  penetrations  on  the  north  side  : Longfellow,  Lowell,  Whittier, 
Bryant,  Whitman,  Poe ; and  the  following  English  and  foreign  or  ancient 

32 


GANYMEDE  — H.  O.  WALKER. 


lyrists  along  the  centre  of  the  vault  and  in  the  south  penetrations  : Browning, 
Shelley,  Byron,  Musset,  Hugo,  Heine,  Theocritus,  Pindar,  Anacreon,  Sappho, 
Catullus,  Horace,  Petrarch,  Ronsard. 

Mr.  Alexander’s  Paintings.  — In  the  East  Corridor  are  six  tympanums 
of  the  same  size  as  the  smaller  panels  of  Mr.  Walker  and  Mr.  Pearce,  by  Mr. 
John  W.  Alexander,  illustrating  The  Evolution  of  the  Book.  The  subjects  are, 
at  the  south  end,  The  Cairn , Oral  Tradition , and  Egyptian  Hieroglyphics ; 
and  at  the  north  end,  Picture  Writing , The  Manuscript  Book , and  The 
Printing  Press.  In  the  first  of  these,  a company  of  primitive  men,  clad 
in  skins,  are  raising  a heap  of  stones  on  the  seashore,  perhaps  as  a memo- 
rial of  some  dead  comrade,  or  to  commemorate  some  fortunate  event, 
or,  perhaps,  merely  as  a record  to  let  others  know  the  stages  of  their  journey. 
In  the  second  panel,  an  Arabian  story-teller  stands  relating  his  marvellous  tales  in 
the  centre  of  a circle  of  seated  Arabs.  The  third  shows  a scaffolding  swung  in 
front  of  the  portal  of  a newly  erected  Egyptian  temple.  A young  Egyptian 
workman  is  cutting  a hieroglyphic  inscription  over  the  door,  while  an  Egyptian 


LYRIC  POETRY.  — BY  H.  O.  WALKER. 

girl,  his  sweetheart,  sits  watching  the  work  beside  him.  Picture  Writing  repre- 
sents a young  American  Indian,  with  a rudely  shaped  saucer  of  red  paint  beside 
him,  depicting  some  favorite  story  of  his  tribe  upon  a dressed  and  smoothed 
deer-skin.  An  Indian  girl  lies  near  him,  attentively  following  every  stroke  of  his 
brush.  The  next  panel  gives  the  interior  of  a convent  cell,  with  a monk,  seated 
in  the  feeble  light  of  a small  window,  laboriously  illuminating  in  bright  colors 
the  pages  of  a great  folio  book.  The  last  of  the  series  shows  Gutenberg,  the 
inventor  of  printing,  in  his  office  : the  master,  with  his  assistant  beside  him, 
examining  a proof-sheet,  and  discussing  the  principle  of  his  great  invention. 
To  the  right  is  an  apprentice,  swaying  upon  the  handle-bar  of  the  rude  press. 

Mosaic  Decorations  of  the  East  Corridor.  — The  various  trophies 
already  spoken  of  as  ornamenting  the  mosaic  of  the  vault  of  the  East  Corridor 
are  ten  in  number,  each  occurring  in  one  of  the  pendentives,  at  the  ends  and 
along  the  sides.  Below  each  are  the  names  of  two  Americans  (only  those 
actually  born  in  the  United  States  being  included)  eminent  in  the  art  or  science 
typified.  The  list  of  trophies,  with  the  names,  is  as  follows  : Architecture  (the 

33 


capital  of  an  Ionic  column,  with  a mallet  and  chisel) , Latrobe  and  Walter ; 
Natural  Philosophy  (a  crucible  and  pair  of  balances,  etc.),  Cooke  and  Silli- 
man;  Music  (a  lyre,  flute,  horn,  and  music-sheet),  Mason  and  Gottschalk; 
Painting  (a  sketch-book,  palette,  and  brushes),  Stuart  and  Allston;  Sculpture 
(the  torso  of  a statue),  Powers  and  Crawford;  Astronomy  (a  celestial  globe), 
Bond  and  Rittenhouse ; Engineering  (including  an  anchor,  protractor,  level, 
etc.),  Francis  and  Stevens;  Poetry  (a  youth  bestriding  Pegasus),  Emerson 
and  Holmes ; Natural  Science  (a  microscope  and  a sea-horse),  Say  and  Dana; 
Mathematics  (a  compass  and  counting-frame),  Peirce  and  Bowditch.  In  the 
vault  proper  is  inscribed  a list  of  names  of  Americans  distinguished  in  the  three 
learned  professions  : under  Medicine,  Cross,  Wood,  McDowell,  Rush,  Warren ; 
under  Theology,  Brooks,  Edwards,  Mather,  Channing,  Beecher ; and  under 
Law,  Curtis,  Webster,  Hamilton,  Kent,  Pinkney,  Shaw,  Taney,  Marshall,  Story, 
and  Gibson. 


THE  MANUSCRIPT  BOOK BY  JOHN  W.  ALEXANDER. 


From  the  East  Corridor,  entrance  to  the  basement  may  be  had  through  a 
little  lobby  with  a domed  mosaic  ceiling  under  either  of  the  main  staircases. 
At  the  north  end  of  the  corridor  -is  the  Librarian’s  Room,  and  at  the  south  end 
are  a toilet- room  for  ladies  and  a cloak-room.  The  little  lobby  of  the  latter  is 
especially  bright  and  attractive,  with  deep,  velvety  red  walls,  a high  arabesque 
frieze,  and  ceiling  decorations  of  lyres  and  a disc  containing  a large  honey- 
suckle ornament. 

The  Librarian’s  Room. — The  Librarian’s  Room  is  one  of  the  most 
beautifully  finished  of  any  in  the  Library.  It  is  divided  into  two  by  a broad, 
open  arch,  leaving  the  office  proper  on  one  side,  and  a smaller,  more  private 
office,  with  a gallery  above,  on  the  other.  The  fittings  are  in  oak,  with  oak 
bookcases.  The  windows  look  out  upon  the  Northwest  Court.  The  gallery 
has  a groined  ceiling,  and  over  the  main  office  is  a shallow  dome,  with  stucco 
ornamentation  in  low  relief  by  Mr.  Weinert.  Standing  in  a ring  around  a cen- 
tral disc  are  the  figures  of  Grecian  girls,  from  two  slightly  differing  models, 

34 


holding  a continuous  garland.  Other  ornaments  are  gilded  tablets  and  square 
or  hexagonal  panels,  bearing  an  owl,  a book,  or  an  antique  lamp.  The  central 
disc  is  occupied  by  a painting  by  Mr.  Edward  J.  Holslag,  already  spoken  of  as 
the  foreman  of  Mr.  Garnsey’s  staff,  representing  Letters  — the  seated  figure  of 
a beautiful  woman  holding  a scroll  in  her  hand  and  accompanied  by  a child 
with  a torch.  The  following  Latin  sentence  is  inscribed  in  a streamer  : Litera 
scripta  manet. 

In  the  pendentives  of  the  dome,  Mr.  Weinert  has  modelled  a figure,  about 
two  feet  in  height,  of  a boy  holding  a palm-branch  and  blowing  a trumpet.  Like 
the  ring  of  girls  in  the  dome,  the  figures  are  of  an  alternating  design.  Above 
each  is  a circular  panel  with  the  half-length  figure  of  a woman,  painted  by  Mr. 
Holslag.  The  four  decorations  are  intended  to  supplement,  in  a general  way, 
the  idea  of  Mr.  Holslag’s  ceiling  disc ; one  of  the  figures,  for  example,  holds  a 
book,  another  a lute  (for  the  musical  quality  of  literature),  and  so  on.  Each 


THE  PRINTING-PRESS.  — BY  JOHN  W.  ALEXANDER. 


painting  contains  a Latin  inscription,  as  follows  : — Liber  dilectatio  animae ; 
Efficiunt  clarum  studio  ; Dulces  ante  omnia  Musae ; In  tenebris  lux. 

The  color  scheme  adopted  for  the  room  is  chiefly  green.  A green  tinge  is 
used  in  the  dome  to  emphasize  the  outline  of  the  ornament,  and  green,  on  a 
blue  ground,  predominates  in  the  arabesques  contained  in  the  tympanums 
below.  The  design  of  these  last  — where  complete,  that  is,  for  the  tympanums 
are  variously  intercepted  by  door-and  window-arches — is  a pleasant  little  study 
of  the  evolution  of  the  poet.  At  the  bottom,  a little  boy  is  playing  a pastoral  tune 
on  his  oaten  pipe ; above,  two  little  trumpeters  blare  at  him  to  join  them  in  the 
joy  of  battle  ; and  at  the  top,  a fourth  child,  the  full-fledged  bard,  sits  astride 
his  modern  hobby-horse.  The  centre  of  the  decoration  shows  either  a Pegasus 
or  a Pandora,  the  latter  opening  the  famous  box  containing  all  the  ills  which 
plague  mankind,  and  only  Hope  for  a blessing. 

The  Lobbies  of  the  Rotunda.  — Beyond  the  East  Corridor,  and  sepa- 
rated from  it  by  an  arcade,  is  the  broad  passageway  leading  to  the  Reading 

35 


Room.  The  entrance  for  visitors,  however,  is  by  way  of  the  second  story,  the 
doors  on  the  library  floor  being  open  only  to  those  desiring  to  consult  books. 
The  passageway  is  divided  by  a second  arcade  into  two  transverse  lobbies.  The 
ceiling  of  each  is  vaulted,  with  a mosaic  design  of  much  the  same  pattern  as 
those  in  the  corridors  already  described. 

The  second  lobby  is  the  immediate  vestibule  of  the  Reading  Room, 
and  contains  the  two  main  passenger  elevators,  one  at  either  end.  They  start 
at  the  basement  and  ascend  to  the  attic  story,  where,  among  other  rooms,  are 
a commodious  and  well-equipped  kitchen  and  restaurant  for  the  use  of  visitors 
and  students,  and  the  attendants  in  the  Library. 

Mr.  Vedder’s  Paintings. — The  lobby  contains  five  tympanums,  of  the 
same  size  as  Mr.  Alexander’s,  which  are  filled  by  a series  of  paintings  by  Mr. 
Elihu  Vedder,  illustrating,  in  a single  word,  Government.  Small  as  it  is,  the 
little  lobby  offers  the  painter  one  of  the  most  significant  opportunities  in  the 
whole  interior ; work  here  placed,  in  an  apartment  of  the 
Library  which  serves  at  once  as  elevator-hall  and  as  ves- 
tibule to  the  Main  Reading  Room,  can  hardly  fail  to 
attract  the  attention  of  everyone  passing  through  the 
'building.  It  could  not  be  more  conspicuous  anywhere 
outside  the  central  Reading  Room,  and  the  selection  of 
such  a subject  as  Government  is  therefore  peculiarly 
appropriate.  In  every  sort  of  library  the  fundamental 
thing  is  the  advancement  of  learning  — illustrated  in  the 
Reading  Room  dome,  as  the  visitor  will  see  later  — but  in 
a library  supported  by  the  nation  the  idea  of  government 
certainly  comes  next  in  importance. 

The  painting  in  the  central  tympanum,  over  the  door 
leading  into  the  Reading  Room,  is  entitled  simply  Govern- 
ment. It  represents  the  abstract  conception  of  a republic 
as  the  ideal  state,  ideally  presented.  The  other  tympa- 
nums explain  the  practical  working  of  government,  and 
the  results  which  follow  a corrupt  or  a virtuous  rule. 
The  figures  in  these  four  tympanums  are  therefore 
appropriately  conceived  somewhat  more  realistically. 
The  decoration  to  the  left  of  the  central  tympanum 
illustrates  Corrupt  Legislation , leading  to  Anarchy , 
as  shown  in  the  tympanum  at  the  end  of  the  lobby,  over  the  elevator.  Sim- 
ilarly, on  the  other  side,  Good  Administration  leads  to  Peace  and  Prosperity . 
In  all  five,  the  composition  consists  of  a central  female  figure,  representing  the 
essential  idea  of  the  design,  attended  by  two  other  figures  which  supplement 
and  confirm  this  idea. 

In  the  first  painting,  Government \ the  central  figure  is  that  of  a grave  and 
mature  woman  sitting  on  a marble  seat  or  throne,  which  is  supported  on  posts 
whose  shape  is  intended  to  recall  the  antique  voting-urn  — a symbol  which 
recurs,  either  by  suggestion  or  actually,  in  each  of  the  other  four  tympanums. 
The  meaning  is,  of  course,  that  a democratic  form  of  government  depends  for 
its  safety  upon  the  maintenance  of  a pure  and  inviolate  ballot.  The  throne  is 
extended  on  either  side  into  a bench,  which  rests,  at  each  end,  upon  a 
couchant  lion,  with  a mooring-ring  in  his  mouth,  signifying  that  the  ship  of 
state  must  be  moored  to  strength.  The  goddess  — for  so,  perhaps,  she  is  to  be 

36 


A CEILING  FIGURE. 

BY  ALBERT  WEINERT. 


considered  — is  crowned  with  a wreath,  and  holds  in  her  left  hand  a golden 
sceptre  (the  Golden  Rule),  by  which  the  artist  means  to  point  out  that  no 
permanent  good  can  accrue  to  a government  by  injuring  another.  With  her 
right  hand  she  supports  a tablet  inscribed  with  the  words,  from  Lincoln’s  Get- 
tysburg address,  “ A government  of  the  people,  by  the  people,  for  the  people.” 
To  the  right  and  left  stand  winged  youths  or  geniuses,  the  first  holding  a 
bridle,  which  stands  for  the  restraining  influence  of  order,  and  the  other  with 
a sword  with  which  to  defend  the  State  in  time  of  danger,  or,  if  one  chooses, 
the  sword  of  justice  — it  may  be  taken  either  way.  The  background  of  the 
group  is  the  thick  foliage  of  an  oak  tree,  emblematic  of  strength  and  stability. 

In  the  second  panel.  Corrupt  Legislation  is  represented  by  a woman  with  a 
beautiful  but  depraved  face  sitting  in  an  abandoned  attitude  on  a throne  the 
arms  of  which  are  cornucopias  overflowing  with  the  coin  which  is  the  revenue  of 
the  State.  But  this  revenue  is  represented  not  as  flowing  outward,  for  the  use 
and  good  of  the  people,  but  all  directed  toward  the  woman  herself.  The  artist’s 
idea  was  that  when  revenue  is  so  abundant,  as  here  depicted,  that  it  greatly 
exceeds  the  needs  of  government,  then  government  becomes  a temptation  to  all 
kinds  of  corrupt  practices. 

The  path  in  front  of  the 
throne  is  disused  and 
overgrown  with  weeds, 
showing  that  under  such 
a corrupt  government  the 
people  have  abandoned 
a direct  approach  to  Jus- 
tice. With  her  right 
hand,  the  woman  waves 
away,  with  a contempt- 
uous gesture,  a poorly  clad 
girl  — representing  Labor 
— who  comes,  showing 
her  empty  distaff  and  * music.  — by  edward  j.  holslag. 

spindle,  in  search  of  the 

work  which  should  be  hers  by  right,  but  which  she  cannot  obtain  under 
a government  inattentive  to  the  wrongs  of  the  people.  In  her  left  hand  the 
woman  holds  a sliding  scale  — used  as  being  more  easily  susceptible  of  fraud 
than  a pair  of  balances,  and  the  proper  emblem  therefore  of  the  sort  of  justice 
in  which  she  deals.  A rich  man  is  placing  in  it  a bag  of  gold ; he  sits  con- 
fidently beside  her,  secure  of  her  favors  in  return  for  his  bribe.  At  his  feet 
are  other  bags  of  gold  and  a strong  box,  together  with  an  overturned  voting- 
urn  filled  with  ballots,  signifying  his  corrupt  control  of  the  very  sources  of 
power.  In  his  lap  he  holds  the  book  of  Law,  which  he  is  skilled  to  pervert  to 
his  own  ends.  In  the  background  are  his  factories,  the  smoke  of  their  chim- 
neys testifying  to  his  prosperity.  On  the  other  side  the  factories  are  smokeless 
and  idle,  showing  a strike  or  shut-down  ; and  the  earthen  jar  in  which  the  sav- 
ings of  Labor  have  been  hoarded  lies  broken  at  her  feet. 

The  logical  conclusion  of  such  government  is  Anarchy.  She  is  represented 
entirely  nude,  raving  upon  the  ruins  of  the  civilization  she  has  destroyed.  In 
one  hand  she  holds  the  wine  cup  which  makes  mad,  and  in  the  other  the  incen- 
diary torch,  formed  of  the  scroll  of  learning.  Serpents  twist  in  her  dishevelled 

37 


hair,  and  she  tramples  upon  a scroll,  a lyre,  a Bible,  and  a book  — the  symbols, 
respectively,  of  Learning,  Art,  Religion,  and  Law.  Beneath  her  feet  are  the  dis- 
located portions  of  an  arch.  To  the  right,  Violence,  his  eyes  turned  to  gaze 
upon  the  cup  of  madness,  is  prying  out  the  corner-stone  of  a temple.  To  the 
left.  Ignorance,  a female  figure,  with  dull,  brutish  face,  is  using  a surveyor’s 
staff  to  precipitate  the  wreckage  of  civilization  into  the  chasm  which  opens  in 
the  foreground.  Beyond,  lying  in  an  uncultivated  field,  are  a broken  mill- 
wheel and  a millstone.  But  the  end  of  such  violence  is  clearly  indicated ; no 
sooner  shall  the  corner-stone  be  pried  from  the  wall  than  the  temple  will  fall 
and  crush  the  destroyers ; and  beside  the  great  block  on  which  Anarchy  has 
placed  her  foot  lies  a bomb,  with  a lighted  fuse  attached.  Such  a condition, 
says  the  painting,  must  inevitably  contain  the  seeds  of  its  own  destruction. 

On  the  other  side  of  the  central  tympanum,  Good  Administration  sits  holding 
in  her  right  hand  a pair  of  scales  evenly  poised,  and  with  her  left  laid  upon  a 


GOOD  ADMINISTRATION. BY  ELIHU  VEDDER. 

shield,  quartered  to  represent  the  even  balance  of  parties  and  classes  which 
should  obtain  in  a well  ordered  democracy ; on  this  shield  are  emblazoned,  as 
emblems  of  a just  government,  the  weight,  scales,  and  rule.  The  frame  of  her 
chair  is  an  arch,  a form  of  construction  in  which  every  stone  performs  an  equal 
service  — in  which  no  shirking  can  exist  — and  therefore  peculiarly  appropriate 
to  typify  the  equal  part  which  all  should  take  in  a democratic  form  of  govern- 
ment. On  the  right  is  a youth  who  casts  his  ballot  into  an  urn.  He  carries 
some  books  under  his  arm,  showing  that  education  should  be  the  basis  of  the 
suffrage.  To  the  left  is  another  voting-urn,  into  which  a young  girl  is  winnow- 
ing wheat,  so  that  the  good  grains  fall  into  its  mouth  while  the  chaff  is  scattered 
by  the  wind  — an  action  symbolical  of  the  care  with  which  a people  should 
choose  its  public  servants.  In  the  background  is  a field  of  wheat,  a last  touch 
in  this  picture  of  intelligence  and  virtue,  and,  in  itself,  symbolical  of  prosper- 
ous and  careful  toil. 


38 


In  the  last  panel,  that  of  Peace  and  Prosperity , the  central  figure  is  crowned 
with  olive,  the  emblem  of  peace,  and  holds  in  her  hands  olive-wreaths  to  be 
bestowed  as  the  reward  of  excellence.  On  either  side  is  a youth,  the  one  to 
her  right  typifying  the  Arts,  and  the  other,  Agriculture.  The  former  sits  upon 
an  amphora  or  jar,  and  is  engaged  in  decorating  a piece  of  pottery ; behind 
him  is  a lyre,  for  Music,  and  in  the  distance  a little  Grecian  temple,  for  Archi- 
tecture. The  other  js  planting  a sapling,  — an  act  suggestive  of  a tranquil, 
just,  and  permanent  government,  under  which  alone  one  could  plant  with  any 
hope  of  enjoying  the  shade  and  fruit  of  after  years.  The  background  of  the 
picture  is  a well-wooded  and  fertile  landscape,  introduced  for  much  the  same 
purpose  as  the  wheat-field  in  the  preceding,  tympanum. 

Still  another  piece  of  symbolism  is  expressed  in  this  interesting  series  of  pic- 
tures by  the  trees,  their  foliage  forming  the  background  against  which  the  cen- 
tral figure  is  placed.  The  oak  in  the  central  panel  has  been  spoken  of.  In 


ANARCHY. — BY  ELIHU  VEDDER. 


the  design  representing  Peace  and  Prosperity , an  olive-tree  typifies  not  only 
Peace  but  Spring ; in  the  next  panel,  that  of  Good  Administration , the  tree  is 
the  fig,  and  the  season  summer ; in  that  of  Corrupt  Legislationi  the  autumnal 
vine,  hinting  at  a too  abundant  luxury,  and  with  its  falling  leaves  presaging 
decay ; and  in  that  of  Anarchy , bare  branches  and  Winter. 

The  Second  Floor  Corridors.  — Returning  again  to  the  Entrance  Hall 
proper,  the  visitor  may  most  conveniently  continue  his  tour  of  the  Library  by 
ascending  the  Grand  Staircase  to  the  beautifully  decorated  corridors  of  the 
second-story  arcade,  on  his  way  to  the  public  galleries  of  the  Main  Reading 
Room.  The  corridors  are  arranged  like  those  which  the  visitor  has  already 
passed  through  on  the  first  floor,  but  their  greater  height  and  the  brighter  tone 
of  the  decoration  give  an  effect  of  considerably  greater  spaciousness. 

The  Decoration  of  the  Vaults.  — The  floors  of  the  corridors  are  laid  in 
mosaic  of  varying  patterns.  The  ceilings  are  uniformly  a barrel  vault,  with 

39 


pendentives  — the  same,  that  is,  as  those  of  the  North,  East,  and  South  Corridors 
below.  The  vaults  are  covered  with  a painted  decoration  of  Renaissance  orna- 
ment which  for  variety  and  interest  is  hardly  surpassed  anywhere  else  in 
the  building.  The  decorative  scheme  which  has  been  adopted  was  planned 
throughout  by  Mr.  Casey,  and  elaborated,  especially  in  the  matter  of  color, 
and  carried  into  effect,  by  Mr.  Garnsey,  working  under  Mr.  Casey’s  direction. 
In  addition,  each  corridor  contains,  as  a distinctive  accent  of  color  and  de- 
sign, a series  of  paintings  by  a specially  commissioned  artist  — in  the  West 
Corridor  by  Mr.  Walter  Shirlaw,  in  the  North  Corridor  by  Mr.  Robert  Reid,  in 
the  East  Corridor  by  Mr.  George  R.  Barse,  Jr.,  and  in  the  South  Corridor  by 
Mr.  Frank  W.  Benson.  In  the  side  corridors,  also,  at  the  west  end,  the  arch  of 
the  vault  is  spanned  by  a broad  band  of  stucco  ornament  containing  a series  of 
octagonal  coffers,  ornamented  in  relief  by  Mr.  Hinton  Perry. 

The  decoration  is  varied,  of  course,  from  corridor  to  corridor,  in  order  to 
prevent  any  monotony  of  impression,  but  the  main  principles  on  which  it 
is  based  are  everywhere  the  same.  Thus  the  color  scheme — which  was  sug- 
gested in  part  by  the  beautiful  Library  in  Sienna  — comprises  in  every  corridor 
blue  in  the  pendentives,  golden  yellow  in  the  penetrations,  and  a grayish  white  in 
the  body  of  the  vault.  The  only  exception  to  this  rule  is  in  the  West  and  East 
Corridors,  which  are  terminated  by  double  arches  instead  of  ending  directly  upon 
a wall.  Here  the  end  penetrations  are  red  and  the  pendentive  yellow.  The  others 
remain  as  before.  The  delineation  of  the  spaces  is  at  bottom  very  simple,  and 
though  more  elaborate,  a good  deal  like  that  already  noted  in  describing  the 
mosaic  in  the  lower  corridors.  The  penetrations  are  outlined  by  a bright 
colored  border,  on  which,  where  the  lines  converge  to  a point  at  the  top,  rests  a 
a border  of  greater  width,  enclosing  the  entire  vault  in  a single  great  rectangle. 
This,  in  turn,  is  divided  into  compartments  by  bands  of  ornament,  varying  in 
number  according  to  the  requirements  of  the  decoration,  but  always  occurring  im- 
mediately over  the  columns  of  the  arcade.  These  bands,  coming  where  they  do, 
perform  a vital  service  for  the  decoration  in  continually  reminding  the  visitor, 
if  only  by  a painted  arabesque,  of  the  importance  of  the  arch  in  such  a piece  of 
construction  as  a vault.  In  the  spaces  between  them  are  garlands  and  wreaths, 
and  panels  for  paintings  and  inscriptions  — the  whole  making  part  of  one  great 
arabesque,  which  is  as  easily  intelligible  and  coherent  as  it  is  various,  but 
which  would  have  been  bewildering  in  its  wealth  of  ornament  and  color  if  it  had 
not  been  for  the  fundamental  service  performed  by  these  various  bands  and 
borders  and  broad  masses  of  color. 

The  penetrations  and  pendentives  are  richly  embellished  with  a great  variety 
of  ornament,  both  conventional  and  otherwise.  The  treatment  differs  in  differ- 
ent corridors,  however,  on  account  of  the  varying  relative  position  of  the  paired 
columns  which  support  the  arcade  — from  which  results  first  a series  of  wide 
and  then  a series  of  narrow  pendentives.  Where  the  former  occur  — in  the 
West  and  East  Corridors  — they  are  ornamented  with  the  decorations  of  Mr. 
Shirlaw  and  Mr.  Barse  ; while  the  narrower  pendentives  on  the  north  and  south 
carry  simple  medallions  and  tablets,  and  Mr.  Reid’s  and  Mr.  Benson’s  paintings 
find  place  in  the  arabesque  of  the  ceiling  vault  and  in  circular  frames  along 
the  wall  beneath.  The  balance  is  restored,  however,  by  introducing  a series  of 
medallions,  corresponding  to  Mr.  Benson’s  and  Mr.  Reid’s,  though  smaller  and 
of  less  importance,  in  the  vaults  east  and  west,  and  by  ornamenting  the  penetra- 
tions in  the  side  corridors  with  greater  richness  and  elaboration. 

40 


'M  * 


41 


THE  NORTH  CORRIDOR,  SECOND  STORY,  MAIN  ENTRANCE  HALL 
SHOWING  DECORATIONS  BY  GEORGE  VV.  MAYNARD  AND  ROBERT  REID. 


The  Printers’  Marks.  — The  most  interesting  decoration  of  the  penetra- 
tions, however,  is  a series  of  “ Printers’  Marks  ” which  is  continued  through  all 
four  corridors.  Altogether  there  are  fifty-six  of  them  — sixteen  in  each  of  the 
side  corridors,  ten  in  the  West  Corridor,  and  fourteen  in  the  East  Corridor. 
They  are  painted  in  black  outline,  and  are  of  a sufficient  size,  averaging  about  a 
foot  and  a half  in  height,  to  be  easily  made  out  from  the  floor.  By  a printer’s 
mark,  it  should  be  explained,  is  meant  the  engraved  device  which  the  old 
printers  used  in  the  title-page  or  colophon  of  their  books,  partly  as  a kind  of 
informal  trade-mark  guarding  against  counterfeited  editions,  and  partly  as  a per- 
sonal emblem,  such  as  a publisher  of  good  standing  would  like  to  see  on  a long 
list  of  worthy  books.  For  this  latter  reason,  and  in  order  to  be  able  to  add  an 
interesting  piece  of  ornament  to  the  title-page,  the  mark  has  been  revived  of 
late  years  by  a considerable  number  of  modern  publishing  and  printing 
houses. 

Very  often,  as  the  visitor  will  see,  the  printer’s  mark  is,  in  its  way,  a really  beau- 
tiful piece  of  design ; many  have  an  interest  as  being  associated  with  the  reputa- 
tion of  a famous  printer  like  Caxton,  or  Aldus,  or  Elzevir;  while  others  de- 
pend mainly  for  their  point  upon  some  special  symbolical  meaning,  very  fre- 
quently taking  the  form  of  an  illustrated  pun.  Thus,  in  the  West  Corridor,  the 
mark  of  Lotter  — which  means  “vagrant”  in  German — is  a mendicant  sup- 
plicating alms.  In  the  South  Corridor,  the  mark  of  Geoffroy  Tory  commem- 
orates the  death  of  his  little  daughter  — the  broken  vase,  with  a book  sym- 
bolizing the  literary  studies  of  which  she  had  been  fond. 

There  is  no  necessity,  however,  of  describing  the  marks  in  detail,  for,  with 
the  exception  of  two  or  three  American  examples,  they  were  all  taken  from 
Mr.  William  Roberts’s  Printers'  Marks  (London,  1893),  in  which  they  are 
illustrated  and  explained.  Those  thought  best  adapted  for  decorative  effect 
were  chosen  throughout,  although  the  marks  of  as  many  of  the  better  known 
printers  as  possible  were  included.  Occasionally  a border  or  a motto  was 
omitted,  but  in  the  main  Mr.  Roberts’s  engravings  were  pretty  exactly  copied. 
In  the  West  Corridor  the  marks  are  mostly  those  of  German  printers ; in  the 
South  Corridor,  French ; in  the  East  Corridor,  Italian  and  Spanish ; in  the 
North  Corridor,  English  and  Scottish  and  American.1 


1 The  following  is  the  list,  beginning,  in  each  corridor,  at  the  left-hand  end  of  the  outer  wall.  The 
dates  appended  to  the  names  are  from  Mr.  Roberts’s  book:  West  Corridor — Wolfgang  Koepfel 
1523;  Fust  and  Schoeffer,  1457;  Craft  Mueller,  1536-62;  Conrad  Baumgarten,  1503-5;  Jacobus 
Pfortzheim,  1488-1518;  Cratander,  1519;  Valentin  Kobian,  1532-42  Martin  Schott,  1498;  Melchior 
Lotter,  1491-1536;  Theodosius  and  Josias  Rihel,  1535-1639.  South  Corridor — Rutger  Velpius 
(Flemish),  1553-1614;  F.  Estienne,  1525;  Simon  de  Colines,  1520;  Francois  Regnault,  early  part  of 
the  sixteenth  century ; Simon  Vostre,  1488-1528;  Sebastien  Nivelle,  latter  part  of  the  sixteenth  cen- 
tury; M.  Morin,  1484-1518;  Sebastien  Gryphe,  second  quarter  of  the  sixteenth  century;  Andre 
Wechel,  1535  ; Geoffroy  Tory,  1524;  Guillaume  Chandiere,  1564  ; Pierre  Le  Rouge,  1488;  Mathurin 
Breuille,  1562-83;  Etienne  Dolet,  1540;  Jehan  Treschel,  1493;  Jehan  Petit,  1525.  East  Corridor  — 
Paul  and  Anthony  Meietos  (Italian),  1570;  Gian  Giacomo  de  Leguano  (Italian),  1503-33 ; 
Juan  Rosenbach  (Spanish),  1493-1526;  Andrea  Torresano  (Italian),  1481-1540;  Valentin  Fer- 
nandez (Spanish),  1501;  Christopher  Plantin  (Flemish),  1557;  Daniel  Elzevir  (Dutch,  the  mark 
of  the  Sage),  1617-1625  ; the  Brothers  Sabio  (Italian),  early  part  of  the  sixteenth  century;  Melchior 
Sessa  (Italian),  sixteenth  century;  Ottaviano  Scotto  (Italian),  1480-1520;  Giammaria  Rizzardi 
(Italian),  latter  part  of  the  eighteenth  century;  Filippo  de  Ginuta  (Italian),  1515;  Lucantonio  de 
Giunta  (Italian),  1500;  Aldus  Manutius  (Italian),  1502.  North  Corridor  — D.  Appleton  & Co.;  the 
DeVinne  Press ; Charles  Scribner’s  Sons ; Harper  & Brothers ; Houghton,  Mifflin  & Co.  (the  River- 
side Press);  the  Century  Co.  ; J.  B.  Lippincott  Co.;  Dodd,  Mead  & Co.;  William  Caxton,  1489; 
Richard  Grafton,  1537-72  ; Thomas  Vautrollier  (Edinburgh  and  London),  1556-1605;  John  Day, 
1546-84;  William  Jaggard,  1595-1624;  A.  Arbuthnot  (Edinburgh),  1580;  Andrew  Hester,  1550; 
Richard  Pynson,  1493-1527.  Of  the  marks  in  this  last  corridor,  those  on  the  north  are  of  American 
houses,  all  contemporary,  and  on  the  south,  of  early  English  and  Scottish  printers  and  publishers. 

42 


Mr.  Hinton  Perry’s  Bas=Reliefs. — Mr.  Perry’s  bas-reliefs,  at  the  west 
end  of  the  north  and  south  vaults,  have  already  been  referred  to.  They  are  four 
in  number,  and  measure  three  feet  eight  inches  from  one  side  to  another.  Taken 
as  a series  they  represent  what  may  be  called,  for  lack  of  a better  title,  Ancient 
Prophetic  Inspiration.  The  chief  figure  in  each  is  a sibyl  or  priestess  — Greek, 
Roman,  Persian,  Scandinavian  — in  the  act  of  delivering  the  prophetic  warn- 
ings which  have  been  revealed  to  her  in  the  rapture  of  a divine  frenzy.  She  is 
regarded  as  the  mouthpiece  of  the  god,  and  therefore  as  the  fountain  of  relig- 
ion, wisdom,  literature,  art,  and  success  in  war  — all  of  which  are  typified,  in 
one  panel  or  another,  in  the  figures  of  her  auditors. 

Beginning  in  the  South  Corridor,  the  first  panel  shows  the  Cumsean  or 
Roman  Sibyl.  She  is  represented,  in  accordance  with  the  ancient  histories,  as 
an  old  and  withered  hag,  whose  inspiration  comes  from  an  infernal,  rather  than 
a celestial  source.  Two  figures,  as  in  all  the  panels,  complete  Mr.  Perry's 
group,  one  male  and  the  other  female.  The  first  is  clad  in  the  splendid  armor 
of  a Roman  general ; the  woman  is  nude,  and  stands  for  Roman  Art  and  Lit- 
erature. At  her  feet  is  a box  of  manuscripts,  and  she  takes  in  one  hand  an 


PRINTERS’^ARKS. — CAXTON,  TORY,  LOTTER. 

end  of  the  long  scroll  (representing  one  of  the  Sibylline  Books,  so  famous  in 
Roman  history)  which  the  Priestess  holds  in  her  lap.  The  panel  on  the  other 
side  of  the  arch  represents  a Scandinavian  Valaor  Wise  Woman,  with  streaming 
hair  and  a wolf-skin  over  her  head  and  shoulders.  . She  typifies,  in  her  bold 
gesture  and  excited  gaze,  the  barbaric  inspiration  of  the  Northern  nations.  To 
the  left  is  the  figure  of  a Norse  warrior,  and  to  the  right  a naked  woman  lies 
stretched  upon  the  ground,  personifying  the  vigorous  life  and  fecundity  of 
genius  of  the  North. 

In  the  North  Corridor,  the  subjects  of  Mr.  Perry’s  two  decorations  are 
Greek  and  Persian  Inspiration.  The  former  is  represented  by  the  Priestess  of 
the  world-renowned  Oracle  of  Apollo  at  Delphi.  She  is  seated  upon  a tripod, 
placed  above  a mysterious  opening  in  the  earth,  from  which  the  sacred  fumes 
rise  to  intoxicate  the  Priestess,  and  fill  her  with  the  spirit  of  prophecy.  On  one 
side  of  the  panel,  an  old  man,  standing  for  Greek  science  and  philosophy, 
takes  down  her  words  on  a tablet ; on  the  other  is  a nude  female  figure,  per- 
sonifying Greek  art  and  literature.  In  the  second  panel,  that  of  Persia,  the 
face  of  the  Sibyl  is  veiled,  to  signify  the  occult  wisdom  of  the  East.  A man 

43 


prostrates  himself  at  her  feet  in  a fervor  of  religious  devotion,  and  a woman, 
nearly  nude,  stands  listening  in  the  background.  With  her  voluptuous  figure 
and  her  ornaments  of  pearl  and  gold  — a fillet,  anklets,  armlets,  and  necklace 
— she  represents  the  luxuriance  and  sensuousness  of  Eastern  art  and  poetry. 

Mr.  Shirlaw’s  Paintings.  — The  subjects  of  Mr.  Shirlaw’s  figures  in 
the  vault  of  the  West  Corridor  are,  on  the  west,  beginning  at  the  left : 
Zoology , Physics , Mathematics , and  Geology ; and  on  the  east,  again  beginning 
at  the  left : Archceology,  Botany , Astronomy , and  Chemistry.  Each  science  is 
represented  by  a female  figure  about  seven  and  a half  feet  in  height.  The  fig- 
ures are  especially  interesting,  aside  from  their  artistic  merit,  for  the  variety  of 
symbolism  by  which  every  science  is  distinguished  from  the  others,  and  for  the 
subtlety  with  which  much  of  this  symbolism  is  ex- 
pressed. Not  only  is  each  accompanied  by  various 
appropriate  objects,  but  the  lines  of  the  drapery,  the 
expression  of  the  face  and  body,  and  the  color  itself 
are,  wherever  practicable,  made  to  subserve  the  idea 
of  the  science  represented.  Thus  the  predominant 
colors  used  in  the  figure  of  Chemistry  — purple,  blue, 
and  red  — are  the  ones  which  occur  most  often  in 
chemical  experimenting.  In  the  pendentive  of  Geo- 
logy,  Mr.  Shirlaw  employs  principally  purple  and 
orange ; the  former  is  the  ruling  color  in  many  of  the 
more  common  rock  formations  when  seen  in  the 
mass  and  naturally ; and  the  latter  is  the  color  of  the 
ordinary  lichens  one  finds  on  boulders  and  ledges. 
In  the  matter  of  line,  again,  the  visitor  will  notice  a 
very  marked  difference  between  the  abrupt,  broken 
line  used  in  the*  drapery  of  Archceology , and  the 
moving,  flowing  line  in  that  of  Physics.  In  both 
cases  it  will  be  found  that  the  line  is  in  very  complete 
sympathy  with  the  character  of  the  science  depicted. 
The  method  of  archaeology  is  largely  excavation  car- 
ried on  among  sculptural  and  architectural  fragments. 
The  swirling  drapery  of  Physics  is  suggestive  of 
flame  and  heat. 

Zoology  is  represented  with  a lion  seated  beside 
her,  her  hands  clasping  his  mane.  She  is  the  hunt- 
ress and  student  of  wild  life,  and  her  body  is  power- 
fully developed,  like  an  Amazon’s.  She  is  clad  in  the 
pelt  of  an  animal,  the  head  forming  her  cap,  and  in 
buskins  of  skin.  She  stands  on  a rocky  piece  of  ground,  like  a desert.  The 
chief  colors  employed  in  the  pendentive  are  the  typical  animal  colors,  browns 
and  yellows. 

Physics  stands  on  an  electric  globe,  from  which  emanate  rays  of  light.  She 
carries  a torch  in  her  left  hand,  and  she  holds  up  an  end  of  her  drapery  in  her 
right  in  such  a way  that  it  seems  to  start  from  the  flame  and  flow  in  sympathy 
with  it  over  her  whole  body,  so  that  it  conveys  the  idea  of  the  unceasing  mo- 
tion of  fire.  The  same  colors  as  those  used  in  the  pendentive  of  Geology , 
purple  and  orange,  are  used  here  also,  but  in  this  case  standing,  of  course,  for 
the  colors  of  flame. 


44 


Mathematics , the  exact  science,  is  represented  as  almost  entirely  nude,  — 
like  “ the  Naked  Truth”  of  Mr.  Walker’s  tympanum  on  the  floor  below.  Her 
right  foot  is  on  a stone  block  inscribed  with  the  conic  sections,  and  on  a shield 
which  she  holds  are  various  geometrical  figures.  Her  scanty  drapery  is  appro- 
priately disposed  in  the  severest  lines. 

Geology , a sculpturesque  figure,  stands  squarely  and  firmly  upon  a mountain 
top,  beyond  which  is  seen  the  setting  sun.  A fold  of  her  drapery  forms  a 
receptacle  for  the  specimens  she  has  gathered.  In  her  left  hand  is  a globe, 
and  in  her  right  a fossil  shell.  Her  hair  is  confined  by  a head-dress  of  bars  of 
silver  and  gold.  The  embroidered  pattern  of  her  garment  has  a suggestion 
•of  fossil  forms  and  of  the  little  lizards  which  are  found  among  the  rocks. 

Archceology  is  clad  in  the  Roman  costume,  and 
wears  the  helmet  of  Minerva ; the  helmet  is  wreathed 
with  olive,  the  emblem  of  peace,  which  was  sacred  to 
Minerva,  and  is  here  used  with  special  reference  to 
the  peaceful  character  of  the  science,  which  can  pur- 
sue its  labors  only  in  an  orderly  society.  The  figure 
stands  on  a block  of  stone,  the  surface  of  which  is 
carved  to  represent  a scroll,  the  ancient  form  of  book. 

A vase,  copied  from  the  manufacture  of  the  Zuni 
Indians  of  New  Mexico,  stands  beside  her.  In  her 
right  hand  she  holds  a large  book,  the  pages  of  which 
she  examines  with  the  aid  of  a magnifying  glass  in 
order  to  spell  out  its  half  obliterated  text.  Around 
her  neck  is  coiled  a chameleon,  whose  changing  hues 
are  intended  to  symbolize  the  varying  nature  of  the 
theories  she  propounds. 

The  countenance  of  Botany  is  expressive  of  a joyous 
sympathy  with  nature.  She  stands  on  the  pad  of  a 
water-lily,  engaged  in  analyzing  its  flower,  the  long 
stem  of  which  coils  gracefully  about  her  body  to  the 
water.  Her  drapery  flows  and  breaks  as  a half-opened 
flower  might  arrange  itself.  „ 

Astronomy  holds  a lens,  such  as  is  used  in  a telescope, 
in  her  right  hand,  and  in  her  left  the  globe  of  Saturn 
surrounded  by  its  rings  — selected  as  being  perhaps  the 
best  known  and  most  easily  distinguished  of  all  the 
planets.  She  stands  on  the  sphere  of  the  earth,  beyond 
which,  to  the  left,  is  the  quarter  moon.  The  lines  of  her  drapery  with  their  slow 
curves  are  suggestive,  in  a way,  of  the  orbits  of  the  heavenly  bodies.  They 
flow  in  long  lines,  enveloping  her  figure  in  the  strength  which  proceeds  from 
complete  harmony. 

Chemistry  is  shown  with  her  left  foot  placed  upon  a piece  of  chemical  ap- 
paratus and  holding  in  her  right  hand  a glass  retort,  in  which  she  is  distilling  a 
liquid.  The  necessary  heat,  manifested  by  the  ascending  vapor  which  curls 
about  the  vessel,  is  from  the  mouth  of  the  serpent  — the  emblem  of  fecundity 
and  life,  breathing  the  element  of  life,  fire.  The  serpent  is  coiled  about  an 
hour-glass,  which  is  significant  of  the  exact  measurement  of  time  necessary  in 
chemical  experiments.  The  face  of  the  figure  is  more  worn,  on  account  of  the 
anxious  nature  of  her  employment,  than  would  comport  with  the  character  of 

45 


MATHEMATICS. 

BY  WALTER  SHIRLAW. 


an  out-of-door  science  like  Botany  or  Zoology.  She  is  draped  somewhat  in  the 
eastern  manner,  like  a sibyl,  thus  recalling  the  occult  character  ascribed  to  the 
science  during  the  Middle  Ages  — when  it  was  called  alchemy  — and,  for  that 
matter,  the  marvellousness  of  its  results  in  the  laboratories  of  to-day.  A snake 
wound  as  a fillet  about  her  hair  still  further  emphasizes  this  mystic  quality. 

At  either  end  of  the  corridor  is  a tablet  bearing  a list  of  names  of  men 
distinguished  in  the  sciences  which  Mr.  Shirlaw  has  depicted ; at  the  north 
end  : Cuvier,  the  Zoologist ; Linnaeus,  the  Botanist ; Schliemann,  the  Archae- 
ologist ; and  Copernicus,  the  Astronomer ; at  the  south  end : La  Grange,  the 
Mathematician;  Lavoisier,  the  Chemist;  Rumford,  the  Physicist;  and  Lyell, 
the  Geologist.  In  the  penetrations  on  either  side  of  these  two  lists  of  names 
are  the  following  appropriate  inscriptions  : — 


The  first  creature  of  God  was  the  light  of  sense  ; the  last  was  the  light  of  reason. 

Bacon . 

The  Light  shineth  in  darkness,  and  the  darkness  comprehendeth  not. 

John  i,  5. 

All  are  but  parts  of  one  stupendous  whole, 
Whose  body  Nature  is,  and  God  the  soul. 

Pope . 

In  nature  all  is  useful,  all  is  beautiful. 

Emerson. 

Along  the  centre  of  the  vault,  three 
medallions  by  Mr.  William  B.  Van  Ingen 
represent  respectively  Sculpture , Archi- 
tecture, and  Painting.  In  each  the  art  is 
represented  by  a female  figure  engaged 
either  in  chiselling  the  features  of  a bust 
(that  of  Washington),  drawing  the  plan 
of  a building,  or  painting  at  an  easel. 

Mr.  Reid’s  Paintings.  — Passing 
to  the  North  Corridor,  the  attention  is 
at  once  attracted  to  the  brilliant  coloring 
of  Mr.  Reid’s  decorations  in  the  vault 
the  north  wall.  The  former  are  five  in  number,  and  represent 
the  Five  Senses.  They  are  octagonal  in  form,  measuring  within  an  inch  of  six 
feet  and  a half  across.  The  order  of  the  subjects,  beginning  at  the  westerly 
end,  is  Taste , Sight , Smell,  Hearing,  Touch.  In  each  the  sense  suggested  is 
represented  by  a beautiful  young  woman,  more  of  the  modern  than  the  antique 
type  of  beauty,  and  clad  in  drapery  which  recalls  contemporary  fashions  rather 
than  the  classic  conventions  which  are  usually  followed  by  artists  in  their  treat- 
ment of  ideal  subjects.  Being  painted  upon  a ceiling,  so  that  the  visitor  is  re- 
quired to  look  directly  upward  in  order  to  study  them,  the  figures,  though,  in  a 
sense,  represented  as  seated,  are  rather  to  be  imagined  as  poised  in  the  air, 
without  any  special  reference  to  the  law  of  gravitation.  They  are  shown  as 
supported  upon  cloud-banks,  and  the  backgrounds  of  the  panels  are  sky  and 
clouds. 

The  suggestion  of  the  subject  is  as  simply  as  it  is  ingeniously  and  unconven- 
tionally conveyed.  A large  portion  of  this  suggestion  must  be  looked  for,  of 
course,  in  the  expression  of  the  face  and  the  attitude  as  well  as  in  the  action 
of  the  figures.  Taste  is  shown  drinking  from  a shell.  She  is  surrounded  by 

46 


and 


TOUCH.  — BY  ROBERT  REID. 


along 


foliage,  and  a vine  grows  beside  her  laden  with  bunches  of  ripe  grapes.  She 
wears  flowers  in  her  hair,  and  the  idea  throughout  may  perhaps  be  taken  as 
that  of  the  autumnal  feast  of  the  wine-press.  Sight  is  looking  at  her  reflection 
in  a handglass,  and  smiling  with  pleasure  at  the  evidence  of  her  beauty.  A 
splendid  peacock,  the  emblem  of  beauty  and  pride  in  beauty,  is  introduced  be- 
side her.  Smell  is  represented  seated  beside  a bank  of  lilies  and  roses.  From 
this  mass  of  flowers  she  has  selected  a great  white  rose,  which  she  presses  to 
her  nose.  Nearing  holds  a large  sea-shell  to  her  ear,  and  dreamily  listens  to 
its  roaring.  Touch  is  delightedly  observing  a butterfly  which  has  alighted  on 
her  bare  outstretched  arm  — the  touch  of  its  tiny  feet  as  it  walks  over  her  flesh 
imparting  an  unaccustomed  sensation  to  her  nerves.  A setter  dog,  which  she 
has  just  ceased  from  caressing,  lies  asleep  behind  her. 

Mr.  Reid’s  subjects  in  the  four  circular  panels  along  the  wall  are  entitled, 
in  order  from  left  to  right : Wisdom , Understanding , Knowledge , and  Philos- 
ophy. Each  is  represented  by  a half-length  seated  female  figure  — more  sol- 
idly painted,  but  of  much  the  same  type  as  the  figures  representing  The  Senses 
— holding  a scroll,  book,  or  tablet.  In 
the  panel  of  Philosophy , a Greek  tem- 
ple is  seen  in  the  background,  emblem- 
atic of  the  Greek  origin  of  philosophy. 

Alternating  with  Mr.  Reid’s  ceiling 
paintings,  is  a series  of  rectangular 
panels,  in  which  are  depicted,  in  low 
tones  of  color  and  in  a style  somewhat 
suggestive  of  a classic  bas-relief,  a num- 
ber of  ancient  out- door  athletic  con- 
tests. Beginning  at  the  west  end  of  the 
vault,  the  first  of  these  represents  a 
group  of  young  men  throwing  the  discus. 

Then  come  Wrestling  and  Running. 

In  the  fourth  panel,  the  athletes  are 
being  rubbed  down  by  attendants,  to  clear 
them  of  the  sweat  and  heat  of  the  con- 
flict; and  in  the  fifth,  the  successful 
contestants  are  kneeling  to  receive  the  crown  of  victory  at  the  hands  of  a 
woman  seated  on  a dais.  The  last  picture  represents  the  return  home,  a trip- 
ping company  of  youths  and  maidens  crowned  with  garlands. 

The  visitor  will  remember  what  was  said  concerning  the  special  enrichment 
of  the  penetrations  in  the  side  corridors  for  the  sake  of  compensating  in  a way 
for  the  absence  of  such  decorations  as  Mr.  Shirlaw’s  in  the  pendentives.  In 
the  present  instance,  this  enrichment  takes  the  form  of  dragons  and  swans, 
which  serve  as  “ supporters  ” of  the  panels  containing  the  printers’  marks. 

In  the  pendentives,  tablets  for  inscriptions  alternate  with  medallions  con- 
taining trophies  of  various  trades  and  sciences.  The  list  of  the  latter,  begin- 
ning at  the  left  over  the  north  wall,  is  as  follows  : Geometry,  represented  by  a 
compass,  a protractor,  and  a scroll,  cone,  and  cylinder ; Meteorology,  the  baro- 
meter, thermometer,  and  anemometer ; Forestry,  a growing  tree,  and  an  axe  and 
pruning- knife ; Navigation,  the  chronometer,  log,  rope,  rudder,  and  compass  ; 
Mechanics,  the  lever,  wedge,  and  pulley-block ; and  Transportation,  with  a pis- 
ton, propeller,  driving-wheel,  and  locomotive  head-light. 

47 


HEARING. — BY  ROBERT  REID. 


The  inscriptions  are  from  Adelaide  A.  Procter’s  poem,  Unexpressed ’ and 
are  as  follows  : — 


Dwells  within  the  soul  of  every  Artist 

More  than  all  his  effort  can  express. 

No  great  Thinker  ever  lived  and  taught  you 

All  the  wonder  that  his  soul  received. 

No  true  painter  ever  set  on  canvas 

All  the  glorious  vision  he  conceived. 

No  musician  .... 

But  be  sure  he  heard,  and  strove  to  render, 

Feeble  echoes  of  celestial  strains. 

Love  and  Art  united 

Are  twin  mysteries,  different  yet  the  same. 

Love  may  strive,  but  vain  is  the  endeavor 

All  its  boundless  riches  to  unfold. 

Art  and  Love  speak  ; and  their  words  must  be 

Like  sighings  of  illimitable  forests. 

The  only  other  decoration  which  there  is  space  to  mention  is  the  broad, 
semicircular  border  which  follows  the  line  of  the  vault  on  the  wall  at  either  end 
of  the  corridor.  At  the  east  end,  this  border  is  ornamented  with  a bright- 
colored  arabesque,  mainly  in  violet  and  greens,  with  a medallion  in  the  centre 
bearing  a map  of  the  Western  Hemisphere.  At  the  west  end,  the  border  is 
plainer,  with  five  semicircular  or  circular  tablets,  two  of  which  are  ornamented 
with  the  obverse  and  reverse  respectively  of  the  Great  Seal  of  the  United  States. 
The  other  three  carry  the  following  inscriptions  : — 

Order  is  Heaven’s  first  law. 

Pope. 

Memory  is  the  treasurer  and  guardian  of  all  things. 

Cicero . 


Beauty  is  the  creator  of  the  universe. 

Emerson. 

Mr.  Barse’s  Paintings.  — In  the  East  Corridor,  the  pendentive  figures 
of  Mr.  Barse  represent,  beginning  on  the  east  side,  at  the  north  end  : Lyric 
Poetry  (entitled  by  the  artist,  Lyric  a) » Tragedy,  Comedy , and  History ; and  on 
the  west,  again  beginning  at  the  north,  Love  Poetry  ( Erotica ),  Traditiony 
Fancy , and  Romance.  The  subject  of  the  entire  series,  therefore,  may  be 
called  simply  Litei'ature.  The  figures,  as  the  visitor  will  perceive,  need  but 
little  explanation.  All  are  those  of  women  clad  in  graceful,  classic  robes,  rep- 
resented throughout  as  seated,  and  depicted  with  little  attempt  at  dramatic 
expression  or  action.  Lyric  Poetry  is  playing  on  the  lyre.  Tragedy  and  Com- 
edy have  a tragic  and  comic  mask  respectively,  and  Comedy  a tambourine. 

48 


History  has  a scroll  and  palm-branch,  and  an  ancient  book-box  for  scrolls,  such 
as  was  used  by  the  Romans,  is  set  at  her  feet.  Romance  has  a pen  and  a scroll. 
Fancy  clasps  her  hands,  and  gazes  upward  with  a rapt  expression  on  her  face. 
Tradition  wears  the  ^Egis,  and  holds  a statue  of  the  winged  goddess  of  Victory 
in  her  hand  — both  introduced  as  symbols  of  antiquity.  Erotica  is  writing  on 
a tablet. 

Along  the  centre  of  the  vault,  occupying  a similar  position  to  the  medallions 
in  the  opposite  corridor,  is  another  series  of  three  paintings,  executed  by  Mr. 
William  A.  Mackay,  which  represent  The  Life  of  Man . One  will  best  under- 
stand the  meaning  of  the  paintings  by  first  reading  the  inscriptions  which  are 
placed  immediately  above  and  below  each  medallion.  On  one  side  they  refer 
to  the  ancient  allegory  of  the  Three  Fates,  Clotho,  Lachesis,  and  Atropos  — 
the  first  of  whom  spun,  the  second  wove,  and  the  third  cut,  the  Thread  of 
Life  — and  are  as  follows  : — 

For  a web  begun  God  sends  thread. 

Old  Proverb. 

The  web  of  life  . . . is  of  a mingled  yarn,  good  and  ill  together. 

Airs  mil  that  Ends  Well. 

Comes  the  blind  Fury  with  th1  abhorred  shears 

And  slits  the  thin-spun  life. 

Milton. 

On  the  other  side  the  inscriptions,  which  compare  the  life  of  a man  to  the  life 
of  a tree,  are  taken  from  Cardinal  Wolsey’s  speech  in  Henry  VIII : — 

This  is  the  state  of  man  : to-day  he  puts  forth 

The  tender  leaves  of  hopes. 

To-morrow  blossoms, 

And  bears  his  blushing  honors  thick  upon  him. 

The  third  day  comes  a frost,  . . . 

And  . . . nips  his  root, 

And  then  he  falls. 

Accordingly,  in  the  present  series,  the  first  medallion  shows  a woman 
(Clotho)  with  her  distaff  and  a baby  lying  in  her  lap.  The  sun  is  rising  above 
the  horizon,  a sapling  begins  to  put  out  its  branches,  and  near  by  is  a little 
spring.  In  the  next  picture,  Lachesis  has  a loom  and  shuttle.  The  spring  has 
grown  into  a river,  and  the  mature  man  bears  in  his  hand  a basket  of  fruit 
gathered  from  the  abundance  of  the  full-grown  tree,  while  the  sun  in  the 
heavens  marks  the  high  noon  of  life.  In  the  last  medallion  the  sun  is  setting, 
the  tree  has  fallen  in  ruin  on  the  ground,  and  the  stream  has  dried  up.  The 
man,  grown  old  and  crippled,  faints  by  the  roadside,  and  Atropos  opens  her 
fatal  shears  to  sever  the  thread  of  his  existence. 

At  each  end  of  the  corridor  is  a tablet  containing  the  names  of  eminent 
American  printers,  and  men  who  have  contributed  to  the  improvement  of 
American  printing  machinery.  At  the  north  these  names  are  : Green,  Daye, 
Franklin,  Thomas,  Bradford;  and  at  the  south,  Clymer,  Adams,  Gordon,  Hoe, 
Bruce. 


49 


Mr.  Benson’s  Paintings.  — Mr.  Benson’s  decorations  in  the  vault  of  the 
South  Corridor  and  along  the  wall  below  are  of  the  same  size  and  shape  as  those 
of  Mr.  Reid  in  the  North  Corridor.  The  arabesque  ornament  of  the  ceiling  is 
so  arranged,  however,  as  to  allow  space  for  only  three  instead  of  five  of  these 
hexagonal  panels.  The  subject  of  the  paintings  they  contain  is  The  Graces  — 
Aglaia  (at  the  east),  Thalia  (in  the  centre)  and  Euphrosyne  (at  the  north). 

The  three  figures  are  almost  invariably  represented  in  a group,  in  both 
ancient  and  modern  art.  Taken  together,  they  stand,  of  course,  for  beauty  and 
graciousness,  and  typify,  also,  the  agreeable  arts  and  occupations.  In  separating 
them,  Mr.  Benson  has  considered  Aglaia  as  the  patroness  of  Husbandry;  Thalia 
as  representing  Music ; and  Euphrosyne,  Beauty.  The  first,  therefore,  has  a 

shepherd’s  crook,  the  second  a lyre,  and  the 
last  is  looking  at  her  reflection  in  a hand- 
mirror.  All  are  shown  sitting  in  the  midst 
of  a pleasant  summer  landscape,  with  trees 
and  water  and  fertile  meadows. 

For  the  four  circular  panels  Mr.  Benson 
has  chosen  as  his  subject  The  Seasons.  Each 
is  represented  by  a beautiful  half-length  figure 
of  a young  woman,  with  no  attempt,  however, 
at  any  elaborate  symbolism  to  distinguish  the 
season  which  she  typifies.  Such  distinction 
as  the  painter  has  chosen  to  indicate  is  to  be 
sought  rather  in  the  character  of  the  faces, 
or  in  the  warmer  or  colder  coloring  of  the 
whole  panel  — in  a word,  in  the  general 
artistic  treatment. 

At  either  end  of  the  vault  is  a rectagular 
panel  painted  in  the  same  style  as  those  de- 
picting the  ancient  games  in  the  North  Cor- 
ridor, but  in  this  case  representing  the  modern 
sports  of  Football  and  Baseball.  The  former, 
occurring  at  the  east  end  of  the  vault,  is  a 
more  or  less  realistic  picture  of  a “ scrimmage.” 
The  latter  is  more  conventionalized,  showing 
single  figures,  like  the  pitcher  and  catcher, 
in  the  attitude  of  play,  and  others  with  bats, 
masks,  and  gloves. 

Instead  of  the  swans  and  dragons  of  the 
North  Corridor,  the  printers’  marks  in  the  penetrations  of  the  present  corridor 
are  supported  between  the  figures  of  mermen  and  fauns,  and  mermaids  and 
nymphs,  the  male  figures,  with  their  suggestion  of  greater  decorative  strength, 
occurring  at  the  ends  of  the  corridor,  and  the  nymphs  and  mermaids  alternat- 
ing between.  Altogether  there  are  thirty- two  figures,  each  painted  by  Mr. 
Frederick  C.  Martin. 

On  the  pendentives,  the  series  of  trophies  begun  in  the  North  Corridor  is 
continued,  giving  place,  as  before,  in  every  other  pendentive,  to  a tablet  bearing 
an  inscription.  Beginning  on  the  south  side,  at  the  east  end,  the  trophies 
are  as  follows : Printing,  with  a stick,  inking-ball,  and  type-case ; Pottery, 
three  jugs  of  different  kinds  of  clay  ; Glass-making,  three  glass  vases  of  different 

5° 


r 

I 


COMEDY. 

BY  GEORGE  R.  BARSE,  JR. 


shapes  ; Carpentry,  a saw,  bit,  hammer,  and  right  angle ; Smithery,  the  anvil, 
pincers,  hammer,  bolt,  and  nut ; Masonry,  a trowel,  square,  plumb,  and  mortar- 
board. 

The  following  are  the  eight  inscriptions  : — 

Studies  perfect  nature  and  are  perfected  by  experience. 

Bacon . 

Dreams,  books,  are  each  a world  ; and  books,  we  know, 

Are  a substantial  world,  both  pure  and  good. 

Wordsworth . 


Learning  is  but  an  adjunct  to  ourself. 

Love's  Labor's  Lost. 

A little  learning  is  a dangerous  thing  ; 

Drink  deep,  or  taste  not  the  Pierian  spring. 

Pope. 


The  universal  cause 

Acts  to  one  end,  but  acts  by  various  laws. 

Pope 

Vain,  very  vain,  [the]  weary  search  to  find 
That  bliss  which  only  centres  in  the  mind. 

Goldsmith. 

Creation’s  heir,  the  world,  the  world  is  mine  ! 

Goldsmith . 


The  fault  ...  is  not  in  our  stars, 

But  in  ourselves,  that  we  are  underlings. 

Shakespeare  ( Julius  Ccesar)  . 

The  semicircular  borders  at  either  end  are  practically  the  same  in  color  and 
design  as  in  the  North  Corridor.  At  the  east  end,  the  Eastern  is  substituted 
for  the  Western  Hemisphere,  and  at  the  west  end,  a caduceus  and  a lictor’s 
axe  for  the  United  States  Seal.  The  accompanying  inscriptions  are  as  follows  : 

Man  raises  but  time  weighs. 

Modern  Greek  Proverb. 

Beneath  the  rule  of  men  entirely  great, 

The  pen  is  mightier  than  the  sword. 

Bulwer  Lytton. 

The  noblest  motive  is  the  public  good. 

Virgil. 

The  Decoration  of  the  Walls. — The  decoration  of  the  vaults  of  the 
four  corridors  is  distinctly  Renaissance  in  character ; the  walls  beneath,  how- 
ever, are  colored  and  decorated  in  accordance  with  a Pompeiian  motive.  It 
may  seem  at  first  thought  illogical  thus  to  join  two  styles  so  remote  from  each 
other  in  point  of  time,  but  it  must  be  remembered  that,  in  both  art  and  litera- 
ture, the  Renaissance  was  literally,  as  has  been  pointed  out,  the  new  birth  of 

5i 


Greek  and  Roman  forms,  in  the  course  of  which  the  Italian  painters  adapted 
to  their  use  and  subdued  to  their  style  the  sort  of  wall  decoration  which  we 
know  as  Pompeiian,  from  the  discovery  of  so  many  examples  of  it  in  the  exca- 
vations at  Pompeii.  The  two  styles,  as  used  in  conjunction  in  the  Library  of 

Congress,  not  only  in  these  corridors  but 
throughout  the  building,  are  perfectly 
harmonious  in  color  and  design ; from 
the  explanation  just  given  the  visitor  will 
see  that  they  have  long  ago  been  brought 
into  a historical  unity  as  well,  through 
the  conventions  established  by  the  great 
and  authoritative  school  of  the  Renais- 
sance artists. 

Mr.  Maynard’s  Pompeiian  Pan= 
els.  — The  frequent  occurrence  of  win- 
dows, doors,  and  pilasters  cuts  the  wall 
into  narrow  spaces,  which,  at  the  north 
and  south,  are  colored  a plain  olive,  and 
at  the  east  and  west  the  familiar  rich 
Pompeiian  red,  ornamented  with  sim- 

AGLAIA.  — BY  F.  W.  BENSON.  . r . ’ , . . . , 

pie  arabesques  and,  at  the  ends,  with 
female  figures  representing  The  Virtues , by  Mr.  George  Willoughby  Maynard. 
There  are  eight  of  these  figures  in  all,  two  in  each  corner  of  the  hall.  Each 
figure  is  about  five  and  a half  feet  high,  clad  in  floating  classic  drapery,  and 
represented  to  the  spectator  as  appearing  before  him  in  the  air,  without  a sup- 
port or  background  other  than  the  deep  red  of  the  wall.  The  style  of  the  paint- 
ings is  Pompeiian ; the  general  tone  is  somewhat  like  that  of  marble,  although 
touched  with  color  so  as  to  remove  any  comparison  with  the  marble  framing. 

Beginning  at  the  left  in  each  case,  the 
names  and  order  of  the  Virtues  are 
as  follows : At  the  northeast  corner, 

Fortitude  and  Justice ; at  the  southeast 
corner,  Patriotism  and  Coui'age ; at  the 
southwest  corner,  Temperance  and  Pru- 
dence; at  the  northwest  corner,  Indus- 
try and  Concord.  The  number  of 
virtues  to  be  represented  was  determined 
beforehand,  of  course,  by  the  number 
of  spaces  at  the  disposal  of  the  painter. 

The  selection,  therefore,  was  neces- 
sarily somewhat  arbitrary. 

Each  figure  is  shown  with  certain 
characteristic  attributes.  In  the  case  of 
Industry , Courage , and  Patriotism , Mr. 

Maynard  has  himself  selected  these 

attributes;  in  the  other  five  figures  he  spring,  by  f.  w.  benson. 

has  followed  the  usual  conventions. 

Fortitude  is  shown  fully  armed  — the  mace  in  her  right  hand  and  the  buckler 
on  her  arm,  and  protected  by  cuirass,  casque,  and  greaves.  She  is  thus  repre- 
sented as  ready  for  any  emergency  — living  in  continual  expectation  of  danger,. 


52 


and  constantly  prepared  to  meet  it.  Justice  holds  the  globe  in  her  right  hand, 
signifying  the  extent  of  her  sway.  She  holds  a naked  sword  upright,  signify- 
ing the  terribleness  of  her  punishment.  Patriotism  is  feeding  an  eagle,  the 
emblem  of  America,  from  a golden  bowl  — an  action  which  symbolizes  the 
high  nourishment  with  which  the  Virtue  sustains  the  spirit  of  the  country. 
Courage  is  represented  as  armed  hastily  with  the  buckler,  casque,  and  sword 
— not,  like  Fortitude , continually  on  guard,  but  snatching  up  her  arms  in  the 
presence  of  an  unforeseen  danger.  Temperance  — figured  as  the  classic  rather 
than  the  modern  virtue  — holds  an  antique  pitcher  in  her  right  hand,  from 
which  a stream  of  some  liquor,  whether  wine  or  water,  descends  into  the  bowl 
she  holds  in  her  left.  Her  buoyancy  and  air  of  health  betoken  her  modera- 
tion of  living.  Prudence  looks  in  a hand-glass  to  discover  any  danger  which 
may  assail  her  from  behind.  In  her  right  hand  she  holds  a serpent  — the  em- 
blem of  wisdom.  Industry  draws  the  flax  from  a distaff,  the  end  of  which  is 
stuck  in  her  girdle,  and  twists  it  into  thread,  to  be  wound  upon  the  spindle 
which  hangs  at  her  side.  Concord  — the  Roman  goddess  Concordia  — illus- 
trates the  blessings  of  peace.  In  her  right  hand  she  bears  an  olive-branch,  and 
in  her  left  she  carries  a cornucopia  filled  with  wheat. 

The  Inscriptions  along  the  Walls.  — Before  taking  leave  of  the  cor- 
ridors of  the  Entrance  Hall,  one  more  feature  of  the  decoration  requires 
notice,  namely  the  twenty-nine  inscriptions  occupying  the  gilt  tablets  below  the 
stucco  frames  which  surround  the  circular  windows  and  the  wall-paintings  of 
Mr.  Benson  and  Mr.  Reid.  They  are  as  follows  : — 

Too  low  they  build  who  build  beneath  the  stars. 

Young. 

There  is  but  one  temple  in  the  Universe  and  that  is  the  Body  of  Man. 

JVovalis . 

Beholding  the  bright  countenance  of  Truth  in  the  quiet  and  still  air  of  delightful 
studies.  Milton. 


The  true  university  of  these  days  is  a collection  of  books. 

Carlyle. 

Nature  is  the  art  of  God. 

Sir  Thomas  Browne. 


There  is  no  work  of  genius  which  has  not  been  the  delight  of  mankind. 

Lowell . 


It  is  the  mind  that  makes  the  man,  and  our  vigor  is  in  our  immortal  soul. 

Ovid . 

They  are  never  alone  that  are  accompanied  by  noble  thoughts. 

Sidney. 

Man  is  one  world  and  has 
Another  to  attend  him. 

Herbert. 


Tongues  in  trees,  books  in  the  running  brooks, 
Sermons  in  stones,  and  good  in  everything. 


53 


4s  Yo7i  Like  It. 


The  true  Shekinah  is  man. 

Chrysostom . 

Only  the  actions  of  the  just 

Smell  sweet  and  blossom  in  the  dust. 

Shirley. 


Art  is  long,  and  Time  is  fleeting. 

Longfellow . 

The  history  of  the  world  is  the  biography  of  great  men. 

Carlyle. 

Books  will  speak  plain  when  counsellors  blanch. 

Bacon . 

Glory  is  acquired  by  virtue  but  preserved  by  letters. 

Petrarch. 

The  foundation  of  every  state  is  the  education  of  its  youth. 

Dionysius. 

The  chief  glory  of  every  people  arises  from  its  authors. 

Dr.  Jolmson. 

There  is  only  one  good,  namely  knowledge,  and  one  only  evil,  namely  ignorance. 

Diogenes  Laertius. 

Knowledge  comes,  but  wisdom  lingers. 

Tennyson. 

Wisdom  is  the  principal  thing ; therefore  get  wisdom  : and  with  all  thy  getting 
get  understanding.  Proverbs  iv,  7. 


Ignorance  is  the  curse  of  God, 

Knowledge  the  wing  wherewith  we  fly  to  heaven. 

2 Henry  IV. 

How  charming  is  divine  Philosophy ! 

Milton. 

Books  must  follow  sciences  and  not  sciences  books. 

Bacon . 

In  books  lies  the  Soul  of  the  whole  past  time. 

Carlyle. 

Words  are  also  actions  and  actions  are  a kind  of  words. 

Emerson. 

Reading  maketh  a full  man,  conference  a ready  man,  and  writing  an  exact  man. 

Bacon . 


Science  is  organized  knowledge. 

Herbert  Spencer. 

Beauty  is  truth,  truth  beauty. 

Keats. 


54 


THE  ENTRANCE  TO  THE  ROTUNDA. 


The  vaulting  of  the  broad  passageway  leading  to  the  Reading  Room  consists 
of  a series  of  six  small  domes,  the  ornamentation  of  which  is  similar,  in  its  more 
modest  way,  to  that  of  the  vaulted  corridors  which  the  visitor  has  just  left. 
The  colors  are  light  and  bright,  and  the  three  different  patterns  employed  con- 
sist mainly  of  garlands  and  ribbons,  and  of  simple  bands  of  color  radiating 
from  a central  medallion.  Swans,  eagles,  or  owls  are  introduced  both  in  the 
domes  and.  as  the  ornament  of  the  pendentives,  and  eagles  occur  between  the 
double  consoles  which  receive  the  weight  of  the  domes  upon  the  east  wall.  In 
the  medallions  just  referred  to  are  various 
objects  symbolizing  the  Fine  Arts  — 
tragic  and  comic  masks,  for  Acting ; a 
lyre,  for  Music ; a block  of  marble,  half 
shaped  into  a bust,  and  sculptors’  tools, 
for  Sculpture ; a lamp,  scrolls,  and  an 
open  book,  for  Literature  ; and  the  capital 
of  an  Ionic  column,  a triangle,  and  some 
sheets  of  parchment,  for  Architecture. 

The  trophies  of  Sculpture  and  Architec- 
ture, it  should  be  added,  are  accompanied 
by  appropriate  names — comprising  those 
of  cities,  statues,  and  buildings  — in- 
scribed both  in  the  arabesques  and  in  the 
pendentives  of  certain  of  the  domes. 

For  Architecture,  the  buildings  commem- 
morated  are  the  Colosseum,  the  Taj 
Mahal,  the  Parthenon,  and  the  Pyramids ; 
while  the  cities  are  those  with  whose  fame 
these  four  great  monuments  are  connec- 
ted— Rome,  Agra,  Athens,  and  Gizeh. 

The  sculptures  are  the  Farnese  Bull,  the 
Laocoon,  the  Niobe,  and  the  Parthenon 
Pediment,  and  in  the  bordering  arabesques 
are  the  names  of  the  four  divinities  often 
taken  as  the  subject  of  ancient  statuary 
— Venus,  Apollo,  Hercules,  and  Zeus. 

Mr.  Van  Ingen’s  Paintings.  — In 
the  centre  of  the  passage  a marble  stair- 
case, dividing  to  the  right  and  left  at  a 
landing  halfway  up,  leads  to  the  gallery 
of  the  Reading  Room.  Beneath,  on  either  side,  is  a little  bay,  giving  access  to 
the  elevators.  In  the  decoration  of  the  ceiling  the  effect  aimed  at  is  that  of 
an  arbor,  with  a vine,  climbing  over  a trellis,  painted  against  a sunny  yellow 
background.  Each  contains  a small  tympanun,  in  which  Mr.  Van  Ingen  has 
suggested  the  subjects  of  Milton’s  well-known  companion  poems,  L Allegro 
and  II  Penseroso  — Mirth,  and  Melancholy  or  Thoughtfulness.  The  decorations 
are  not  illustrations,  as  the  word  is  usually  understood,  like  some  of  Mr.  Walker’s 
panels,  already  described ; they  have  no  reference  to  any  particular  scene  or 
incident  in  the  poems,  but  are  intended  as  an  interpretation  of  their  general 

55 


JUSTICE. 

BY  GEORGE  W.  MAYNARD. 


spirit  and  meaning.  In  the  first,  II  Penseroso,  the  time  of  year  is  autumn ; 
in  the  other  it  is  spring.*  Similarly,  in  P Allegro  the  landscape  is  shown  in 
morning  light,  while  in  II  Penseroso  the  time  is  evening.  The  latter  panel  is 
in  the  bay  to  the  north  of  the  staircase.  A single  figure,  that  of  a beautiful 
woman  with  dark  hair  and  soft,  pensive  eyes,  is  shown  at  half  length,  leaning 
her  head  upon  her  hand  in  an  attitude  and  with  an  expression  of  deep  con- 
templation. P Allegro  is  represented  by  a young  woman,  light-haired  and 
sparkling  with  laughter,  who  is  playing  under  the  trees  with  two  little  children. 

In  the  pendentives  of  the  bays  are  inscribed  portions  of  the  two  poems  illus- 
trated. The  lines  from  P Allegro  are  as  follows  : — 

. . . Come,  thou  Goddess  fair  and  free. 
In  heaven  yclept  Euphrosyne, 

And  by  men  heart-easing  Mirth  ; 

Haste  thee,  Nymph,  and  bring  with  thee 
Jest,  and  youthful  Jollity, 

Quips  and  cranks  and  wanton  wiles, 

Nods  and  becks  and  wreathed  smiles, 
Such  as  hang  on  Hebe’s  cheek, 

And  love  to  live  in  dimple  sleek. 

The  lines  from  II  Penseroso  are  : — 

Hail ! thou  Goddess,  sage  and  holy  ! 

Hail,  divinest  Melancholy  ! 

Come  ; but  keep  thy  wonted  state, 

With  even  step,  and  musing  gait, 

And  looks  commercing  with  the  skies, 
Thy  rapt  soul  sitting  in  thine  eyes  : 

There,  held  in  holy  passion  still, 

Forget  thyself  to  marble.  . . . 

Mr.  Vedder’s  Mosaic  Decoration. 

— The  wall  of  the  landing  of  the  stair- 
case is  occupied  by  an  arched  panel, 
fifteen  and  a half  feet  high  and  nine  feet 
wide,  containing  a marble  mosaic  by  Mr. 
Elihu  Vedder.1  The  artist  has  chosen 
for  his  subject  Minerva,  her  armor  partly 
laid  aside,  appearing  as  the  guardian  of 
civilization.  She  is  the  Minerva  of  Peace, 
but  Mr.  Vedder  indicates  that  the  pros- 
perity which  she  now  cherishes  has  been  attained  only  through  just  and  righteous 
war,  whether  waged  against  a foreign  enemy  or  against  the  forces  of 
disorder  and  corruption  within.  Beside  her  is  a little  statue  of  Victory,  such 
as  the  Greeks  were  accustomed  to  erect  in  commemoration  of  their  success  in 
battle.  The  figure  is  that  of  a winged  woman  standing  on  a globe,  and  hold- 
ing out  the  laurel-wreath  and  palm-branch  to  the  victors.  In  the  sky  the  clouds 
of  disaster  and  discouragement  are  rolled  away  and  about  to  disappear,  while 
the  sun  of  reappearing  prosperity  sends  its  rays  into  every  quarter  of  the  land. 
Although  her  shield  and  helmet  have  been  laid  upon  the  ground,  the  Goddess 

1 The  original  cartoon  for  this  mosaic  is  reproduced  as  the  frontispiece  of  this  Handbook. 

56 


FORTITUDE. 

BV  GEORGE  W.  MAYNARD. 


still  retains  the  ZEgis,  and  holds,  in  one  hand,  like  a staff,  her  long,  two-headed 
spear,  showing  that  she  never  relaxes  her  vigilance  against  the  enemies  of  the 
country  which  she  protects.  For  the  present,  however,  her  attention  is  all  di- 
rected to  an  unfolded  scroll  which  she  holds  in  her  left  hand.  On  this  is  writ- 
ten a list  of  various  departments  of  learning,  science,  and  art,  such  as  Law,  Sta- 
tistics, Sociology,  Botany,  Bibliography,  Mechanics,  Philosophy,  Zoology,  etc. 
To  the  left  of  Minerva  is  the  owl,  perched  upon  the  post  of  a low  parapet. 
Olive  trees,  symbolizing  peace,  grow  in  the  field  beyond.  The  armor  of  the 
Goddess  is  carefully  studied  from  ancient  sculptures.  The  character  of  the  ZEgis 
can  here  be  more  easily  made  out  than  in  any  of  the  other  representations  of 
Minerva  to  be  found  in  the  building.  Traditionally  a cape  of  goat-skin,  the 
Greek  artists  finally  came  to  overlay  it  with  metal  scales,  like  scale-armor. 
The  border  is  composed  of  twisting  serpents.  The  head  of  the  Gorgon  Me- 
dusa, which  forms  the  central  ornament,  is  used  also  as  the  decoration  of  the 


L’ALLEGRO. — BY  w.  B.  VAN  INGEN. 


large  shield  lying  in  the  foreground  of  the  picture.  The  helmet  is  decorated 
with  a pair  of  rams’  heads.  Mr.  Vedder’s  whole  design  is  surrounded  by  a 
border  containing,  on  either  side,  a conventionalized  laurel- tree  displayed  like 
a vine. 

THE  ROTUNDA. 

Entering  by  either  of  the  doors  at  the  head  of  the  staircase,  the  visitor  at 
once  steps  out  upon  an  embayed  gallery,  affording  a spacious  and  uninterrupted 
view  of  the  great  domed  Reading  Room,  or  Rotunda,  which,  in  every  sense,  is 
the  central  and  most  important  portion  of  the  Library.  As  such,  it  is  marked 
by  a magnificence  of  architecture  and  decoration  nowhere  else  to  be  found  in 
the  building.  Outside,  from  whatever  direction  one  approaches,  the  gilded 
dome  which  forms  its  outer  shell  is  the  first  thing  to  catch  the  eye ; and  the 
golden  flame  of  the  torch  which  surmounts  the  lantern  indicates  to  the  passer-by 

57 


at  once  the  central  and  the  highest  point  of  the  whole  structure.  Within,  richer 
materials  have  been  used,  and  decoration  has  been  more  freely  employed  than  in 
any  other  part  of  the  Library.  Sculpture  and  paintings,  rare  marbles,  and  a 
broad  scheme  of  color  and  of  ornamentation  in  stucco  relief  unite  with  a lofty 
architectural  design  to  form  what  is  one  of  the  most  notable  interiors  in  the 
country. 

The  Importance  of  the  Rotunda.  — The  detailed  description  of  the 
Rotunda  may  be  deferred  a little,  however,  in  order  to  explain  its  relation  to  the 
rest  of  the  building,  and,  especially,  the  reason  for  its  central  position.  Besides 
accumulating  books  and  providing  the  student  with  proper  accommodations  for 
his  work  — such  as  good  light  and  convenient  chairs  and  tables  — it  is  the 
business  of  every  well  managed  library  to  supply  its  readers  with  the  books  they 
desire  in  the  shortest  possible  time  and  with  the  least  possible  amount  of 
friction.  A well  digested  catalogue  is  the  first  requisite ; the  second  is  that 
the  books  should  be  stored  in  a place  as  closely  accessible  to  the  reading  room 
as  may  be.  In  a small  library  this  is  a simple  matter ; the  same  room  will  be 
sufficient  for  both  books  and  readers.  When  the  number  of  volumes  increases 
it  is  necessary  to  shelve  them  in  a compact  system  of  bookcases  called  a 
“stack”  — or,  as  in  the  Library  of  Congress,  in  a series  of  stacks  — which 
must  occupy  a portion  of  the  building  by  itself.  The  reading  room  and  the 
stacks  being  thus  separated,  it  is  still  the  aim  of  the  architect  to  place  them  in 
such  a way  as  to  retain  as  far  as  possible  the  practical  convenience  of  the 
smaller  library,  where  every  reader  is  almost  within  reaching  distance  of  every 
book.  This  end  is  most  easily  attained  by  adopting  what  is  called  the  “ central 
system”  of  library  construction,  which  is  the  system  followed  in  the  Library  of 
Congress.  It  has  already  been  seen  that  the  building  is  in  the  form  of  a cross 
enclosed  within  a rectangle,  thus  allowing  space  for  four  courts  for  light  and  air. 
At  the  intersections  of  the  arms  of  the  cross  is  the  Rotunda,  the  main  entrance 
to  which  is  through  the  west  arm  of  the  cross.  The  other  three  arms  are 
occupied  by  the  stacks ; the  East  Stack,  directly  opposite,  is  the  second  short 
arm ; the  North  and  South  Stacks,  each  the  same  length,  are  the  two  long 
arms.  It  is  obvious  that  by  this  arrangement  the  books  can  be  more  easily 
reached  than  in  any  other  way.  The  axes  of  the  stacks  are  continued  radii  of 
the  Rotunda,  and,  so  far  as  the  ground  plan  is  concerned,  the  shortest  way 
from  any  part  of  the  cross  to  the  Distributing  Desk  which  the  visitor  sees  below 
in  the  centre  of  the  room  is  always  along  a straight  line.  This  Distributing 
Desk,  of  course,  being  in  the  exact  centre  of  everything,  is  the  vital  point,  the 
kernel,  of  the  whole  arrangement.  No  part  of  the  stack,  it  will  be  noted,  is  far 
enough  away  from  it  to  delay  the  transmission  of  a book  unreasonably,  as  might 
very  well  be  the  case  if  the  three  stacks  were  in  one.  Moreover,  by  the  use  of 
a mechanical  contrivance,  which  will  be  explained  later,  even  this  distance  is  in 
effect  very  greatly  reduced. 

Another  thing  may  well  be  noted  in  this  connection  although  it  has  already 
been  referred  to  in  the  preliminary  description  of  the  building — and  that  is, 
the  comparative  unimportance,  from  the  standpoint  of  the  real  requirements  of 
the  Library,  of  the  great  Rectangle  which  encloses  the  stacks  and  the  Rotunda, 
and  necessarily  appears  from  the  street  to  be  the  main  portion  of  the  building. 
It  contains  rooms  which,  at  present,  are  very  convenient  for  clerical  work  or  as 
art  galleries  and  special  reading  rooms,  and  which  may  in  time  be  necessary  to 
accommodate  an  overflow  of  books ; but  it  must  steadily  be  borne  in  mind  that 

58 


THE  GALLERY  OF  THE  ROTUNDA. 


SHOWING  THE  STATUES  OF  HERODOTUS  AND  BEETHOVEN. 


the  Rotunda  and  the  stacks  contain  the  real  life  of  the  institution.  They 
are  the  only  really  essential  and  vital  portion  of  the  building ; without  them, 
there  could  hardly  be  a library ; and  by  themselves  they  would  be  sufficient  for 
almost  every  present  need. 

The  General  Arrangement. — The  character  of  the  Rotunda  is  warm 
and  rich  in  ornament  as  befits  a room  where  people  remain  to  read.  It  is  nat- 
urally not  so  formal  as  the  Rotunda  of  the  Capitol.  The  height  of  the  room  from 
the  floor  to  the  top  of  the  dome,  where  it  converges  upon  the  lantern,  is  one  hun- 
dred and  twenty-five  feet,  and  from  the  floor  to  the  crown  of  the  domed  ceiling 
of  the  lantern  itself,  one  hundred  and  sixty  feet.  This  latter  point,  however,  is 
quite  shut  off  from  the  view  of  a person  standing  in  the  gallery  and  can  be  seen 

only  from  a position  near  the  centre  of  the  room. 
The  ground  plan  of  the  room  is  octagonal  in 
shape,  measuring  one  hundred  feet  from  one  side 
to  another.  Eight  massive  clustered  piers,  each 
set  some  ten  feet  forward  from  a corner  of  the 
octagon,  support  a series  of  heavy  arches  running 
entirely  round  the  room.  These  piers  serve,  as 
it  were,  to  stake  out  the  limit  of  the  Reading 
Room  proper ; between  them  are  marble  screens 
arcaded  in  two  stories,  and  behind  they  are  con- 
nected with  the  outer  wall  by  partitions  which 
divide  the  octagon  into  eight  bays  or  alcoves, 
each  fourteen  feet  deep  and  thirty  wide.  In 
each  alcove,  at  the  height  of  the  screen,  is  a gal- 
lery like  that  which  the  visitor  has  already  en- 
tered, one  connecting  with  another,  through  doors 
pierced  in  the  partition  walls,  so  as  to  form  a 
continuous  promenade  — as  it  may  be  called, 
considering  its  purpose  — in  which  the  sightseer 
may  walk  without  fear  of  disturbing  the  readers 
below. 

The  alcoves  are  arched  and  enclose  great  semi- 
circular windows  filled  with  stained  glass,  which 
furnish  the  greater  part  of  the  light  needed  for  the 
room.  The  arches  springing  from  the  piers  sup- 
port a heavy  circular  entablature,  immediately 
above  which  is  the  dome,  arched  in  the  line  of 
an  exact  circle  and  supported  upon  eight  ribs  dividing  it  into  eight  sections 
or  compartments.  The  ribs  are  the  essential  feature  of  the  dome  construc- 
tion, and  continue  naturally  the  line  of  support  of  the  great  piers  which 
are  the  ultimate  support  of  the  whole  interior  — a fact  which  is  more 
clearly  brought  out  to  the  eye  by  paired  consoles  or  brackets  introduced 
in  the  entablature  between  the  two  and  seeming  to  carry  the  weight  from  one 
to  the  other. 

The  surface  of  the  dome  is  of  stucco,  attached  to  a framework  of  iron  and 
steel  filled  in  with  terra  cotta,  and  richly  ornamented  with  coffers  and  with  a 
very  elaborate  arabesque  of  figures  in  relief.  At  the  top,  where  the  dome  pre- 
pares to  join  the  lantern,  the  ribs  terminate  against  a broad  circular  “ collar,” 
so  called,  containing  a painted  decoration  by  Mr.  Edwin  Howland  Blashfield. 

60 


LAW. 

BY  PAUL  W.  BARTLETT. 


Finally  comes  the  lantern,  thirty-five  feet  in  height,  and  pierced  by  eight  windows, 
recalling  the  octagonal  arrangement  with  which  the  construction  began.  The 
shallow  dome  which  covers  the  lantern  is  ornamented  with  a second  painting 
by  Mr.  Blashfield,  summing  up  the  idea  of  his  decoration  in  the  collar. 

At  the  risk  of  some  tediousness,  perhaps,  but  thinking  that  afterwards  the 
connection  between  the  decoration  and  the  architecture  would  be  more  clearly 
understood,  the  writer  has  given  this  general  description  of  the  Rotunda,  in 
order  that  the  visitor  might  immediately  see  what  portion  of  the  whole  was 
essential  and  what  not  essential;  what  was  “ structural  ” and  vital,  in  other 
words,  and  what  not.  It  will  have  been  observed  that  we  have,  on  the  outside, 
an  octagon  supporting  a shallow  dome,  on  which  rests  the  lantern.  Well  within 
this  is  an  octagonal  arrangement  of  piers  carrying 
a much  steeper  dome.  Alcoves  occupy  the  space 
between  the  inner  and  outer  octagons.  Between 
the  two  domes  — the  inner  shell  and  the  outer 
— is  vacancy.  The  whole  exterior  — walls,  dome, 
and  lantern  — the  partitions  back  of  the  piers, 
and  the  connecting  screens : all  could  be  torn 
away  and  the  inner  dome  still  remain  secure  on 
its  eight  massive  piers. 

The  piers  are  constructed  of  brick,  veneered 
with  marble  from  Numidia  in  Africa,  curiously 
mottled  and  in  color  a sort  of  dusky  red.  The 
high  base  on  which  the  pier  rests  is  sheathed  with 
a chocolate  brown  variety  of  the  familiar  close- 
grained  Tennessee  marble.  The  height  of  the 
piers,  including  base  and  capital,  is  forty-four 
feet. 

The  screens  are  built  solidly  of  marble  from 
Sienna,  Italy,  which  encloses  in  its  rich  black 
veining  almost  every  variety  of  yellow,  from  cream 
color  to  dark  topaz.  Like  the  piers,  the  screens 
are  erected  upon  a Tennessee  marble  base,  in 
this  case,  however,  very  much  lower  — four  feet 
to  the  other’s  eleven.  The  arcading  of  the  screens 
is  in  two  stories,  the  first  of  three  and  the  second 
of  seven  arches.  At  the  top  of  each  screen  the 
gallery  is  railed  in  by  a heavy  balustrade  — still 
of  the  same  Sienna  marble  — connected  with  which  are  two  marble  pedestals 
which  bear  bronze  statues  of  illustrious  men.  The  screens  are  alike  on  every 
side  of  the  octagon  but  two,  the  west  and  the  east  — the  former  the  entrance 
from  the  Staircase  Hall,  and  the  latter  affording  a way  through  to  the  east  side 
of  the  building.  In  both  instances,  therefore,  the  central  arch  is  accentuated  by 
free  standing  columns.  In  the  second  story  of  the  west  screen,  also,  still  another 
modification  has  been  made  in  order  to  allow  space  for  a large  clock  — the  three 
middle  arches  giving  place  to  a rich  architectural  setting  ornamented  with  bronze 
statuary.  - 

The  Alcoves. — The  alcoves  behind  the  screens  are  in  two  stories,  like  the 
arcading,  and  are  intended  to  contain  a collection  of  the  most  necessary 
standard  books  on  all  important  topics.  The  entrance  from  the  floor  of  the 

61 


COMMERCE. 

BY  JOHN  FLANAGAN. 


Reading  Room  is  through  the  central  arch  of  the  screen.  One  may  pass  through 
doors  in  the  partitions  from  one  alcove  to  another,  on  either  floor ; and  by 
means  of  a winding  staircase  inside  each  of  the  piers  one  may  go  up  or  down, 
not  only  from  story  to  story,  but,  on  the  one  hand,  into  the  basement  below, 
and,  on  the  other,  to  the  space  between  the  inner  and  the  outer  dome  above. 

Altogether,  the  alcoves  have  a capacity,  with  their  present  shelving,  of  130,000 
volumes.  The  cases  are  of  iron,  and  similar  in  a general  way  to  those  in  the 
large  stacks,  to  be  described  later ; but  they  are  built  against  the  walls,  accord- 
ing to  the  older  method  of  library  arrangement,  and  with  very  little  attempt  to 
combine  them  in  a real  stack  system,  properly  so  called.  The  upper  shelves 
in  the  lower  story  are  reached  from  a small  iron  gallery ; in  the  second  story  a 
step-ladder  must  be  used  — the  only  instance  in  the 
whole  building  where  a book-shelf  cannot  be  reached 
by  a person  standing  on  the  floor. 

In  front  of  each  of  the  great  piers  of  the  Rotunda 
is  an  engaged  column,  so  called  because  it  is  not 
quite  clear  of  the  mass  behind  it,  which  serves  as  the 
ultimate  support  of  a statue  placed  between  the  arches 
upholding  the  dome.  In  height,  base,  and  capital,  it 
is  the  same  as  the  pier  with  which  it  is  connected,  and, 
like  it,  is  sheathed  in  Numidian  marble,  but  not  so 
dark  in  tone,  since  the  burden  resting  on  the  column 
includes  no  part  of  the  dome,  and  is  therefore 
much  lighter  than  that  borne  by  the  pier. 

The  engaged  columns,  however,  join  with  the  piers 
to  carry  an  elaborate  entablature  some  seven  feet  in 
height,  which,  finding  its  way  in  and  out  of  the  alcoves 
from  pier  to  pier,  completely  encompasses  the  room. 
The  color  of  the  entablature,  which  is  entirely  of 
stucco,  is  a cream  or  ivory  white,  like  the  dome, 
touched  sparingly  with  gold.  The  mouldings,  which 
are  of  the  usual  Greek  patterns  employed  in  Renais- 
sance architecture,  are  very  rich  and  heavy.  The 
topmost  member  of  the  cornice  is  boldly  projected 
upon  a series  of  modillions,  the  soffits  between  being 
ornamented  with  rosetted  coffers  — gilt  on  a blue 
ground.  The  frieze  is  enriched  with  an  arabesque 
of  Renaissance  ornament  in  relief,  including  antique 
urns  and  lamps ; garlands  enclosing  tablets ; and 
winged  half-figures.  The  general  design  of  the  frieze,  as  of  all  such  work  in 
the  Library,  is  by  Mr.  Casey  as  architect ; the  individual  figures,  however,  were 
modelled  by  Mr.  Weinert. 

The  Symbolical  Statues The  eight  statues  set  upon  the  entablature 

over  the  engaged  columns  represent  eight  characteristic  features  of  civilized 
life  and  thought.  From  the  floor  to  the  plinth  or  base  on  which  they  stand  is 
a distance  of  fifty-eight  feet;  each  is  ten  and  a half  feet,  or,  including  the 
plinth,  eleven  feet  high.  All  are  of  plaster,  toned  an  ivory  white  to^natch  the 
general  tone  of  the  stucco  decoration  throughout  the  room,  and  are  effectively 
placed  against  the  plain  red  pendentives  of  the  dome  as  a background.  The 
title  of  each  is  inscribed  in  gilt  letters  in  a tablet  in  the  frieze  below.  Begin- 

62 


PHILOSOPHY. 

BY  BELA  L.  PRATT. 


ning  with  the  figure  directly  to  the  right  as  one  enters  the  west  gallery  of  the 
Rotunda,  the  order  is  as  follows  : Religioni  modelled  by  Mr.  Theodore  Baur ; 
Commerce , by  Mr.  John  Flanagan;  History , by  Mr.  Daniel  C.  French;  Art , 
by  a French  artist,  Mr.  Dozzi,  after  sketches  by  Mr.  Augustus  St.  Gaudens ; 
Philosophy , by  Mr.  Bela  L.  Pratt,  who  modelled  the  granite  spandrels  of  the 
Main  Entrance ; Poetry , by  Mr.  J.  Q.  A.  Ward ; Law , by  Mr.  Paul  W.  Bart- 
lett ; and  Science , by  Mr.  John  Donoghue. 

Nearly  all  bear  some  appropriate  and  distinguishing  object.  Religion  holds 
a flower  in  her  hand,  seeming  to  draw  from  it  the  lesson  of  a God  revealed  in 
Nature.  Commerce , crowned  with  a wreath  of  the  peaceful  olive,  holds  in  her 
right  hand  a model  of  a Yankee  schooner,  and  in  her  left  a miniature  locomo- 
tive. History  has  a book  in  her  hand, 
and  with  an  obvious  symbolism  holds  up 
a hand-glass  so  that  it  will  reflect  thing 
behind  her.  Art  is  unlike  the  other 
figures  in  being  represented  as  nearly 
nude.  She  is  crowned  with  laurel,  and 
bears  a model  of  the  Parthenon.  Be- 
side her  is  a low  tree,  in  the  branches 
of  which  are  hung  a sculptor’s  mallet 
and  the  palette  and  brush  of  the  painter. 

Philosophy  is  a . grave  figure  with  down- 
cast eyes,  carrying  a book  in  her  hand. 

The  garment  of  Poetry  falls  in  severe 
lines,  which  suggest  the  epic  and  the 
more  serious  forms  of  the  drama,  rather 
than  the  lighter  aspects  of  the  Muse. 

Law  has  a scroll  in  her  hand ; a fold  of 
her  robe  is  drawn  over  her  head  to  sig- 
nify the  solemnity  of  her  mission ; and 
beside  her  is  the  stone  Tablet  of  the 
Law.  Science  holds  in  her  left  hand  a 
globe  of  the  earth,  surmounted  by  a tri- 
angle. In  her  right  hand  is  a mirror, 
not,  like  History1  s,  turned  backward,  but 
held  forward  so  that  all  may  perceive  the 
image  of  Truth. 

Above  each  statue  the  pendentive  of 
the  dome  is  occupied  by  a group  in 
plaster,  sculptured  by  Mr.  Martiny,  consisting  of  two  winged  geniuses,  modelled 
as  if  half  flying,  half  supported  on  the  curve  of  the  arches,  and  holding  between 
them  a large  tablet  carrying  an  inscription  in  gilt  letters.  Above  the  tablet  is 
a pair  of  crossed  palm-branches  (meaning  peace),  and  below  are  the  lamp  and 
■open  book  symbolical  of  learning,  these  last  being  surrounded  by  an  oak- 
wreath,  typifying  strength  — the  whole  group  thus  signifying  the  power  and 
beneficence  of  wisdom. 

The  inscriptions  were  selected  by  President  Eliot  of  Harvard  University, 
who  several  years  before  had  furnished  the  memorable  sentences  carved  upon 
the  Water  Gate  at  the  World’s  Fair  in  Chicago.  Each  is  appropriate  to  the 
subject  of  the  statue  below  it. 


SHAKESPEARE. 

BY  FREDERICK  MACMONNIES. 


63 


Thus,  above  the  figure  of  Religion  are  the  words  : — 

What  doth  the  Lord  require  of  thee,  but  to  do  justly,  and  to  love 
mercy,  and  to  walk  humbly  with  thy  God?  Micah  vi,  8. 


Above  the  figure  of  Commerce : — 

We  taste  the  spices  of  Arabia  yet  never  feel  the  scorching  sun 
which  brings  them  forth.  Anonymous d 


Above  the 


Above  the 


figure  of  History  : — 

One  God,  one  law,  one  element, 

And  one  far-off  divine  event, 

To  which  the  whole  creation  moves. 

Tennyson . 

figure  of  Art : — 

As  one  lamp  lights  another,  nor  grows  less, 

So  nobleness  enkindleth  nobleness. 


Lowell. 


Above  the  figure  of  Philosophy : — 

The  inquiry,  knowledge,  and  belief  of  truth  is  the  sovereign  good  of 
human  nature.  Bacon. 


Above  the  figure  of  Poetry : — 

Hither,  as  to  their  fountain,  other  stars 
Repairing,  in  their  golden  urns  draw  light. 

Milton. 


Above  the  figure  of  Law : — 

Of  law  there  can  be  no  less  acknowledged  than  that  her  voice  is  the 
harmony  of  the  world.  Hooker. 


Above  the  figure  of  Science  : — 

The  heavens  declare  the  glory  of  God  ; and  the  firmament  sheweth 
his  handiwork.  Psalms  xix,  i. 

The  Portrait  Statues.  — The  sixteen  bronze  statues  set  along  the  balus- 
trade of  the  galleries  represent  men  illustrious  in  the  various  forms  of  thought 
and  activity  typified  in  the  figures  just  described.  The  arrangement  of  the 
statues  is  in  pairs,  each  pair  flanking  one  of  the  eight  great  piers  of  the  Ro- 
tunda. The  list  of  those  who  have  been  thus  selected  to  stand  as  typical  rep- 
resentatives of  human  development  and  civilization  is  as  follows  : Under  Re- 
ligion, Moses  and  St.  Paul;  Commerce,  Columbus  and  Robert  Fulton;  History , 
Herodotus  and  Gibbon ; Art , Michael  Angelo  (a  single  figure,  but  standing  at 
once  for  Architecture,  Sculpture,  and  Painting)  and  Beethoven ; Philosophy , 
Plato  and  Lord  Bacon ; Poetry , Homer  and  Shakespeare ; Law , Solon  and 
Chancellor  Kent  (the  author  of  the  well-known  Commentaries ) ; Science , New- 
ton and  Professor  Joseph  Henry.  The  sculptors  were  : of  the  Moses  and  Gibbon , 
Mr.  Charles  H.  Niehaus  ; St.  Paul,  Mr.  John  Donoghue  (the  sculptor  of  the  figure 
of  Science)  ; Columbus  and  Michael  Angelo,  Mr.  Paul  W.  Bartlett  (who  modelled 
the  figure  of  Law ) ; Fulton , Mr.  Edward  C.  Potter ; Herodotus,  Mr.  Daniel  C. 
French  ( History ) ; Beethoven,  Mr.  Theodore  Baur  ( Religion ) ; Plato  and 
Bacon,  Mr.  John  J.  Boyle ; Homer,  Mr.  Louis  St.  Gaudens ; Shakespeare , 
Mr.  Frederick  Macmonnies  (who  did  the  central  doors  at  the  Main  Entrance)  ; 

1.  From  a tract  entitled  Considerations  on  the  East  India  Trade , 1701. 

64 


Solon , Mr.  F.  Wellington  Ruckstuhl  (the  sculptor  of  the  busts  of  Goethe,  Ma- 
caulay, and  Franklin,  in  the  Entrance  Portico)  ; Kent , Mr.  George  Bissell; 
Newton , Mr.  C.  E.  Dallin ; and  Henry , Mr.  Herbert  Adams,  whom  the  visitor 
already  knows  for  his  work  in  connection  with  Mr.  Warner  on  the  bronze  en- 
trance doors,  as  well  as  for  his  little  figures  of  Minerva  in  the  Main  Vestibule. 

Of  these  figures,  two,  the  Moses  and  St.  Paul , are  ideal,  though  modelled,  in 
a general  way,  according  to  conventions  long  established  in  Christian  art.  The 
Solon  is  an  original  study,  although,  of  course,  aiming  to  be  entirely  Greek  in 
spirit  and  costume.  The  Homer  follows  an  ancient  ideal  bust.  The  Herodotus 
and  Plato  are  studied  from  original  Greek  sculptures.  The  features  of  the  other 
ten  are  taken  from  portraits  from  life,  and  the  costumes  are  accurately  copied 
from  contemporary  fashions. 

The  Moses  of  Mr  Niehaus  holds  the  Table 
of  the  Law,  and,  like  Michael  Angelo’s  fa- 
mous figure,  is  horned — a curious  convention 
which  crept  into  art  from  an  ancient  mistrans- 
lation of  a passage  in  Exodus.  The  St.  Paul 
is  a bearded  figure,  one  hand  on  the  hilt  of  a 
great  two-edged  sword,  and  the  other  holding 
a scroll.  Mr.  Ruckstuhl  has  conceived  his 
Solon  as  the  typical  law-giver  of  the  ancient 
world.  He  is  represented  as  stepping  for- 
ward, clothed  in  all  the  power  of  the  state,  to 
announce  at  a solemn  gathering  of  the  people 
the  supremacy  of  Law  over  Force.  A fold 
of  his  garment  is  drawn  over  his  head  with 
a certain  priestly  suggestion,  as  if  the  laws 
he  proclaimed  were  of  divine  origin.  He 
holds  aloft,  in  his  left  hand,  a scroll  bearing 
the  Greek  words  01  NOMOI,  which,  though 
meaning  simply  “The  Law,”  were  under- 
stood as  referring  especially  to  Solon’s  enact- 
ments. His  right  hand  rests  upon  a sheathed 
and  inverted  sword,  which  is  wreathed  with 
laurel.  The  idea  is  that  law  has  supplanted 
force,  but  that  force  is  always  ready  to  carry 
out  the  mandates  of  the  law.  Homer  is  re-  herodotus. 

presented  with  a staff  in  his  hand  and  a wreath  BY  DANIEL  c-  FRBNCH- 

of  laurel  crowning  his  head.  Mr.  French  represents  Herodotus  as  a traveller, 
searching  the  known  world  for  the  materials  of  his  histories.  His  garments  are 
girt  up,  he  bears  a long  staff  in  one  hand,  and  shades  his  eyes  with  a scroll  as 
he  gazes  into  the  distance  to  discover  his  destination.  The  Fulton  carries  a 
model  of  a steamboat,  and  the  Henry  an  electro-magnet,  for  discoveries  in 
electrical  science.  The  Beethoven  shows  the  composer  with  his  hand  up- 
lifted as  if  to  beat  the  measure  of  the  harmony  which  has  suddenly  come  into 
his  mind  — so  suddenly  that  in  the  eagerness  of  his  movement  he  has  pulled 
the  pocket  of  his  greatcoat  inside  out.  Mr.  Macmonnies’s  Shakespeare  is  a 
somewhat  novel  study,  so  far  as  the  head  is  concerned ; it  is  a composite  of 
the  portrait  in  the  first  collected  edition  of  the  Plays  and  of  the  Stratford  bust. 
The  figure  of  Kent  wears  the  judicial  ermine  ; he  carries  in  one  hand  the  manu- 

65 


script  of  his  Commentaries , and  holds  a pen  in  the  other.  Of  the  other  figures,, 
some,  like  the  Gibbon , carry  a book  or  pen ; but  in  most  instances  the  sculptor 
has  sought  merely  to  give  his  subject  an  appropriately  noble  and  contempla- 
tive attitude  and  expression,  without  trying  to  introduce  any  special  symbol  of 
his  work. 

Mr.  Flanagan’s  Clock.  — Still  another  piece  of  sculpture  — the  group 
ornamenting  the  great  clock  over  the  entrance  to  the  Rotunda  — remains  to  be 
spoken  of  before  passing  on  to  a description  of  the  dome  and  Mr.  Blashfield’s 
decorations.  It  is  the  work  of  Mr.  John  Flanagan,  the  sculptor  of  the  figure 
of  Commerce , and,  taken  altogether,  is  one  of  the  most  sumptuous  and  magnifi- 
cent pieces  of  decoration  in  the  Library.  The  clock  itself  is  constructed  of 
various  brilliantly  colored  precious  marbles,  and  is  set  against  a background  of 
mosaic,  on  which  are  displayed,  encircling  the  clock,  the  signs  of  the  zodiac, 

in  bronze.  Above  is  a life-size 
figure,  executed  in  high  relief  in 
bronze,  of  Father  Time,  striding 
forward  scythe  in  hand.  To  the 
left  and  right  are  the  figures  of 
maidens  with  children,  also  in 
bronze,  representing  the  Seasons. 
The  dial  of  the  clock  is  about 
four  feet  in  diameter ; in  the 
centre  is  a gilt  glory,  or  “ sun- 
burst.” The  hands,  which  are 
also  gilded,  are  jewelled  with 
semi-precious  stones. 

Including,  of  course,  Mr.  Wein- 
ert’s  and  Mr.  Martiny’s  work,  it 
will  be  seen  that  no  less  than 
nineteen  American  sculptors  have 
contributed  to  the  decoration  of 
the  Rotunda.  Considering  the 
room  — just  for  the  moment,  and 
for  the  sake  of  the  special  point 
of  view  — merely  as  a Gallery  of 
Statuary,  it  will  be  seen  how  im- 
portant and  representative  a col- 
lection of  American  sculpture  has  been  brought  together.  The  choosing  of  the 
sculptors  to  be  commissioned,  and  of  the  work  to  be  assigned  to  each  — not 
only  here  but  throughout  the  Library  — were  necessarily  matters  of  very  careful 
consideration.  To  aid  in  this  work,  General  Casey  secured  the  advice  of  the 
President  of  the  National  Sculpture  Society  (the  authoritative  organization  in 
such  matters),  then  as  now  Mr.  J.  Q.  A.  Ward,  who  associated  with  him  as  a 
committee  two  others  of  the  most  prominent  members  of  the  Society.  This 
committee  went  into  the  question  very  thoroughly,  and  as  a result  recommended 
the  sculptors  for  the  Entrance  Portico,  the  bronze  entrance  doors,  the  Com- 
memorative Arch  in  the  Staircase  Hall,  and  the  Rotunda.  Their  advice  was 
accepted  in  toto , with  the  result,  barring  a few  changes  made  necessary  by  sub- 
sequent circumstances,  that  the  visitor  has  now  seen. 


THE  ROTUNDA  CLOCK. 

BY  JOHN  FLANAGAN. 


1 The  accompanying  illustration  of  Mr.  Flanagan’s  clock  is  taken  from  a preliminary  sketch  in  clay. 

66 


The  Lighting  of  the  Rotunda.  — The  soffits  of  the  arches  upholding 
the  dome  are  ornamented  with  a row  of  plain  coffers ; the  larger  arches  which 
roof  the  alcoves  within,  carry  a triple  row  of  more  elaborate  coffers,  each  with 
a gilt  rosette.  The  windows  of  stained  glass,  already  spoken  of  as  enclosed 
by  these  arches,  are  semicircular  in  form  and  measure  thirty-two  feet  across  at 


DETAIL  OF  THE  ROTUNDA. 

SHOWING  THE  STATUE  OF  GIBBON. 

the  base.  They  furnish  the  greater  part  of  the  light  needed  for  the  illumina- 
tion of  the  room.  No  shadows  are  cast  in  any  direction.  Being  so  high  above 
the  floor,  the  light  from  them  is  much  more  effective  than  if  they  were  nearer 
the  level  of  the  reader’s  eye.  They  are  better  even  than  skylights,  and  with 
none  of  the  disadvantages  of  skylights.  Other  sources  of  light  are  the  various 

67 


little  windows  pierced  in  the  four  walls  of  the  Octagon  which  face  the  interior 
courts ; and,  above,  the  eight  windows  of  the  Lantern.  It  has  been  said  that 
no  reading  room  in  the  world  is  so  well  lighted  — so  steadily,  abundantly  and 
uniformly,  whether  on  the  brightest  or  the  darkest  day.  Mr.  Blashfield’s  paint- 
ings in  the  dome,  for  example,  can  hardly  be  said  to  receive  direct  light  from 
a single  window  in  the  room,  but  for  all  that,  so  perfectly  is  the  light  diffused, 
they  are  as  easily  made  out  as  any  decorations  in  the  building. 

In  the  evening,  the  light,  which  is  furnished  entirely  by  electric  lamps,  is 
quite  as  perfect  in  its  way  as  in  the  daytime.  In  the  second  story  of  the 
arcading  of  the  marble  screens,  a brass  rod  runs  between  the  capitals  of  each 
arch,  supporting  in  the  centre  a brass  star  of  eight  points,  each  point  an 
electric  lamp  of  thirty- two-candle  power.  With  seven  of  these  in  each  screen 
(except  the  west,  where  Mr.  Flanagan’s  clock  leaves  room  for  only  four), 
and  eight  screens,  one  has  a total  of  four  hundred  and  twenty-four  lamps 
thus  used.  Above  the  cornice  of  the  second  entablature  is  a great  ring  con- 
taining three  hundred  and  eight  more.  Similarly,  a line  of  fifty  lamps  occurs 
at  the  bottom  of  each  of  the  semicircular  windows,  making  four  hundred  in  all ; 


SEALS  OF  WASHINGTON  AND  KANSAS. BY  H.  T.  SCHLADERMUNDT. 

WITH  AUTHORIZED  SEAL  OF  KANSAS  IN  THE  CENTRE. 


and  in  the  eye  of  the  lantern,  so  placed,  however,  that  the  lamps  themselves  are 
invisible,  is  a second  ring  numbering  forty-six.  On  the  floor,  the  reading  desks 
are  equipped,  altogether,  with  sixty-eight  bronze  standards,  each  bearing  three 
lamps,  or  two  hundred  and  four  in  all.  Add  the  number,  seventy-six,  which 
serve  to  light  the  Distributing  Desk  and  the  lower  story  of  the  alcoves,  and  the 
result  is  a grand  total  of  fourteen  hundred  and  fifty-eight,  and  a total  candle- 
power  of  upwards  of  forty  thousand.  When  the  current  is  turned  on  and  all 
these  lamps  are  lit,  the  Rotunda  presents  a spectacle  of  light  and  shadow  worth 
going  far  to  see. 

The  Semicircular  Windows.  — It  is  calculated  that,  by  putting  stained 
glass  in  the  eight  semicircular  windows,  the  amount  of  light  admitted  has  been 
diminished  almost  exactly  one-eighth ; in  other  words,  the  result  is  the  same 
as  if  one  of  the  eight  had  been  quite  closed  up.  The  loss,  of  course,  is  hardly 
appreciated  in  a room  sufficiently  supplied  with  light  from  such  a number  of 
sources. 

The  windows  are  double,  with  about  four  inches  between  the  two  sashes. 
The  glass  used  for  the  outside  is  plain,  but  of  different  degrees  of  translucency, 
according  as  it  is  necessary  to  prevent  the  entrance  of  direct  sunshine,  which, 

68 


if  admitted,  would  be  disagreeable  to  the  occupant  of  the  room  and  would 
distort  the  desirable  even  effect  of  the  stained  glass  within.  Thus,  in  the  east 
and  west,  ribbed  skylight  glass  is  used ; in  the  southeast,  south,  and  southwest, 
ribbed  and  ground  glass ; while  on  the  other  three  sides,  where  the  sun  never 
comes,  the  glass  is  left  perfectly  clear. 

The  cartoons  for  the  stained  glass  were  made  by  Mr.  Schladermundt,  after 
designs  prepared  by  the  architect,  Mr.  Casey.  The  ground  is  a crackled  white, 
leaded  throughout  into  small,  square  panes.  In  order  to  give  an  effect  of  bold- 
ness and  strength,  the  windows  are  divided  vertically  by  heavy  iron  bars.  The 
design  is  surrounded  by  a richly  colored  border  of  laurel,  combined  with 
rosettes  and  Roman  fasces.  At  the  top,  in  the  middle  of  each  window,  is  the 
great  seal  of  the  United  States,  four  feet  high,  surmounted  by  the  American 
eagle,  whose  outstretched  wings  measure  eight  feet  from  tip  to  tip.  To  the 
right  and  left,  following  the  curve  of  the  window,  are  the  seals  of  the  States 
and  Territories,  three  on  a side,  or  six  in  each  window,  so  that  forty-eight  — 
excluding  only  Alaska  and  Indian  Territory  — are  contained  in  the  eight  win- 
dows. Torches  alternate  with  the  seals,  and  the  fasces  are  introduced  at  the 
bottom. 

The  name  of  the  State  or  Territory  is  inscribed  above  each  seal,  with  the 
date  of  the  year  in  which  it  was  admitted  to  the  Union,  or  organized  under  a 
territorial  form  of  government.  The  seals  occur  in  the  order  of  their  dates,  the 
series  beginning  with  the  Thirteen  Original  States  — which  start  in  the  easterly 
window  in  the  order  in  which  they  signed  the  Constitution  — and  continuing 
around  the  room  to  the  three  Territories  of  New  Mexico,  Arizona,  and  Okla- 
homa. Taken  all  in  all  they  form  one  of  the  most  interesting  decorations  in 
the  Library,  for  the  reason  that  the  artist  has  succeeded  in  making  a harmonious 
whole  out  of  a very  heterogeneous  collection  of  designs.  The  originals,  of 
course,  were  separately  drawn,  often  by  persons  unacquainted  with  heraldry, 
and  never  with  any  particular  thought  of  fitting  them  into  a single  series  like 
the  present.  The  result  is  that  these  originals  show  the  greatest  diversity  of 
treatment.  The  key,  so  to  speak,  is  continually  changing.  Sometimes,  for  ex- 
ample, a figure  introduced  in  the  foreground  is  dwarfed  by  an  altogether  dispro- 
portionate background,  while  in  other  cases  the  figure  overpowers  every- 
thing else ; copied  exactly,  any  heraldic  or  artistic  unity  of  effect  would  be 
entirely  lacking.  Accordingly,  after  getting  together  a complete  collection  of 
the  seals  — in  every  instance  an  authentic  impression  of  the  original  obtained 
from  the  State  secretary  — Mr.  Schladermundt  re-drew,  and  often  almost  re- 
designed his  material  to  bring  it  into  accordance  with  his  decorative  scheme. 
Just  what  it  was  that  Mr.  Schladermundt  undertook  to  do  may  best  be  seen  in 
the  accompanying  engravings  of  the  Seal  of  Kansas,  the  first  giving  the  seal 
as  used  on  official  papers,  the  second  copied  from  Mr.  Schladermundt’s  cartoon. 
It  will  be  seen  that  the  spirit  of  the  seal  and  its  heraldic  intention  are  the  same 
in  both.  The  only  difference  is  that  in  Mr.  Schladermundt’s  design  certain 
changes  of  proportion  have  been  made  to  make  the  seal  harmonize  with  the 
style  to  which  the  artist  wished  to  have  all  his  designs  adhere.  In  many  cases, 
particularly  in  the  seals  of  the  Thirteen  Original  States,  the  original  has  hardly 
been  changed  at  all.  In  the  seal  of  the  State  of  Washington,  indeed,  which 
consists  merely  of  a portrait  of  Washington  himself,  Mr.  Schladermundt  has 
unobstrusively  added  the  Washington  arms  in  the  upper  corner  of  the  design, 
in  order  to  suggest  the  desirable  heraldic  conventionality  more  fully;  occa- 

69 


sionally,  too,  it  has  been  necessary  to  omit  certain  minor  details  as  being 
unsuited  to  the  breadth  of  treatment  necessary  in  stained  glass  — but,  as  a 
rule,  Mr.  Schladermundt  has  followed  very  carefully  the  specifications  contained 
in  the  authoritative  legislative  enactments. 

The  Dome.  — A vertical  section  of  the  dome  of 
the  Rotunda  would  show  an  exact  half  circle,  with  a 
diameter  of  one  hundred  feet.  As  has  been  said  be- 
fore, the  dome  is  of  stucco,  applied  to  a framework  of 
iron  and  steel,  filled  in  with  terra  cotta.  Although,  as 
previously  described,  it  appears  to  rest  upon  the  deep 
upper  entablature,  it  really  springs  immediately  from 
the  eight  arches  resting  upon  the  great  piers.  The 
entablature,  as  will  be  seen  on  a close  inspection, 
bears  no  part  in  the  construction.  It  is  projected 
so  far  forward  from  the  dome  that  one  may  easily 
walk  between  the  two. 

The  entablature  is  about  seven  feet  high,  with  a 
richly  moulded  architrave  and  a heavy  projecting  cor- 
nice. The  ground  of  the  frieze  is  gilt,  with  a relief 
ornament  in  white  of  eagles  standing  upon  hemis- 
pheres and  holding  in  their  beaks  a heavy  garland  of 
laurel.  Over  the  north,  south,  east,  and  west  arches, 
are  two  female  figures  — the  work  of  Mr.  Philip  Mar- 
tiny  — represented  as  seated  upon  the  architrave 
moulding  and  supporting  a heavy  cartouche — another 
instance  of  the  emphasis  which  the  architect  has  so 
often  placed  upon  the  four  main  axes  of  the  building. 

The  Stucco  Ornamentation. — The  dome  is  so  simply  planned  that  a 
description  of  its  main  features  may  be  given  in  a very  brief  space.  The  sur- 
face is  filled  with  a system  of  square  coffers.  The  ornamentation  of  the  body 
of  the  dome  is  in  arabesque.  The  eight  ribs  which  mark  off  the  dome  into 
compartments  are  each  divided  into 
two  by  a band  of  gilded  ornament  re- 
sembling a guilloche.  The  coffers  di- 
minish in  size  from  four  and  a half  feet 
square  at  the  bottom  to  two  and  a half 
feet  at  the  top.  The  total  number  of 
coffers  is  three  hundred  and  twenty  — 
or  forty  in  each  compartment,  and  also 
in-  each  horizontal  row,  and  eight  in 
each  vertical  row.  The  ground  of  the 
coffers  is  blue,  the  sky-color,  as  if  one 
were  really  looking  out  into  the  open 
air  — and  therefore  the  color  tradition- 
ally used  in  coffering.  To  give  sparkle  and  brilliancy,  many  shades  and  kinds  of 
blue  are  used,  the  darker  and  heavier  at  the  bottom,  and  the  lighter  and  airier 
toward  the  top.  The  transition  is  so  gradual  and  natural  that  the  eye  does  not 
perceive  any  definite  change,  but  only  a generally  increased  vividness.  The 
border  mouldings  of  the  coffers  are  cream-colored  — old  ivory  is  the  usual  term 
— strongly  touched  with  gold,  and  in  the  centre  of  each  is  a great  gold  rosette. 

70 


HALF  FIGURES. 

BY  ALBERT  WEINERT. 


DOME  ORNAMENT. 

BY  ALBERT  WEINERT. 


Although  the  purpose  of  the  dome  arabesque  is  primarily  to  give  an  agree- 
able impression  of  light  and  shade,  the  individual  figures  of  which  it  is  com- 
posed are  nearly  as  interesting  a study  as  the  general  effect  of  the  whole.  The 
variety  of  the  figures  is  almost  bewildering  — lions’  heads,  sea-horses,  dolphins, 
urns,  cartouches,  griffins,  shells,  storks,  caryatides,  tridents,  eagles,  cherubs, 
half-figures,  geniuses  — altogether  something  like  forty-five  principal  type- 
designs,  interwoven  with  very  many  smaller  but  no  less  beautiful  pieces  of 
ornament.  All  are  adapted  from  Renaissance  models  of  the  best  and  purest 
period,  and  are  combined  with  the  utmost  spirit  and  harmony  in  an  arabesque 
whose  every  portion  has  equal  artistic  value.  No  single  figure  catches  the  eye ; 
broad  horizontal  and  vertical  bands  of  decoration,  gradually  diminishing  as 
they  approach  the  top,  encircle  and  ascend  the  dome,  each  with  its  particular 
“ note  ” of  arrangement  and  design,  but  all  cunningly  united  to  form  an  in- 
disputable whole,  everywhere  balanced  and  restrained. 

It  may  be  of  interest  to  the  visitor  to  learn  that  one  of  the  most  novel  and 
ingenious  pieces  of  engineering  con- 
nected with  the  construction  of  the 
Library  was  a so-called  “travelling” 
or  rotary  scaffold,  devised  by  Mr. 

Green  for  the  use  of  the  workmen 
employed  on  the  stucco  decorations 
of  the  dome.  It  may  be  likened  to  a 
huge  pair  of  steps,  ascending  from  the 
upper  entablature  to  the  lantern.  Its 
upper  end  thrust  against  an  iron  pintle 
secured  to  beams  laid  across  the  eye 
of  the  lantern,  and  was  steadied  at 
the  bottom  by  a pair  of  flanged  wheels, 
which  travelled  on  a track  in  the  en- 
tablature, so  that  the  whole  apparatus 
could  be  traversed  entirely  round  the 
room.  The  various  stages  or  landings 
were  adjusted  to  fit  the  concave  of 
the  dome,  with  the  result  that  the 
accuracy  of  the  curve  could  be  tested  with  almost  mathematical  exactness. 
At  one  time  two  of  these  scaffolds  were  swung  to  the  same  pintle. 

Mr.  Blashfield’s  Paintings. — The  position  of  Mr.  Blashfield’s  decora- 
tions in  the  Collar  and  Lantern  of  the  dome  is  the  noblest  and  most  inspiring 
in  the  Library.  They  are  literally  and  obviously  the  crowning  glory  of  the 
building,  and  put  the  final  touch  of  completion  on  the  whole  decorative  scheme 
of  the  interior.  The  visitor  will  see  how,  without  them,  not  a painting  in  the 
building  would  seem  to  remain  solidly  and  easily  in  its  place,  for  they  occupy  not 
only  the  highest,  but  the  exact  central  point  of  the  Library,  to  which,  in  a sense, 
every  other  is  merely  relative. 

As  was  hinted  in  the  description  of  Mr.  Vedder’s  paintings,  Mr.  Blashfield 
was  almost  necessarily  drawn  to  select  some  such  subject  as  he  has  here  chosen 
— the  Evolution  of  Civilization,  the  records  of  which  it  is  the  function  of  a great 
library  to  gather  and  preserve. 

The  ceiling  of  the  Lantern  is  sky  and  air,  against  which,  as  a background, 
floats  the  beautiful  female  figure  representing  the  Human  Understanding, 


DETAIL  OF  THE  DOME. 


lifting  her  veil  and  looking  upward  from  Finite  Intellectual  Achievement  (typ- 
ified in  the  circle  of  figures  in  the  collar)  to  that  which  is  beyond ; in  a word, 
Intellectual  Progress  looking  upward  and  forward.  She  is  attended  by  two 
cherubs,  or  geniuses ; one  holds  the  book  of  wisdom  and  knowledge,  the  other 
seems,  by  his  gesture,  to  be  encouraging  those  beneath  to  persist  in  their 
struggle  towards  perfection. 

The  decoration  of  the  collar  consists  of  a ring  of  twelve  seated  figures,  male 
and  female,  ranged  against  a wall  of  mosaic  patterning.  They  are  of  colossal 
size,  measuring,  as  they  sit,  about  ten  feet  in  height.  They  represent  the 
twelve  countries,  or  epochs,  which  have  contributed  most  to  the  development 
of  present-day  civilization  in  this  country.  Beside  each  is  a tablet,  decorated 
with  palms,  on  which  is  inscribed  the  name  of  the 
country  typified,  and  below  this,  on  a continuous 
banderole  or  streamer,  is  the  name  of  some  chief  or 
typical  contribution  of  that  country  to  the  sum  of 
human  excellence.  The  figures  follow  each  other  in 
chronological  order,  beginning,  appropriately  enough, 
at  the  East,  the  East  being  the  cradle  of  civilization. 
The  list  is  as  follows : Egypt , typifying  Written  Rec- 
ords ; Judea , Religion ; Greece , Philosophy ; Rome , 
Administration ; Islam,  Physics  ; The  Middle  Ages , 
Modern  Languages  ; Italy,  the  Fine  Arts ; Germany , 
the  Art  of  Printing ; Spain , Discovery ; England,  Liter- 
ature ; France,  Emancipation ; and  America,  Science. 

Each  figure  is  winged,  as  representing  an  ideal,  but 
the  wings,  which  overlap  each  other  regularly  through- 
out, serve  mainly  to  unite  the  composition  in  a con- 
tinuous whole,  and  in  no  case  have  been  allowed  to 
hamper  the  artist  in  his  effort  to  make  each  figure 
the  picture  of  a living,  breathing  man  or  woman. 
Four  of  the  twelve  figures,  it  will  be  observed,  stand 
out  more  conspicuously  than  the  rest  on  account  of 
the  lighter  tone  of  their  drapery  — Egypt,  Rome, 
Italy,  and  England.  They  occupy  respectively  the 
east,  south,  west,  and  north  points  in  the  decoration, 
and  furnish  another  instance  of  the  stress  that  has 
been  laid,  throughout  the  Library,  upon  the  four  car- 
dinal points  of  the  compass  which  govern  the  axial 
lines  of  the  building,  and  which  in  turn  have  been  enriched  and  dignified  in 
the  final  decorative  scheme  of  the  interior.  Each  of  these  axial  figures  is 
painted  in  a more  rigid  attitude  than  those  beside  it,  and  forms,  as  will  be 
noticed,  the  centre  of  a triad,  or  group  of  three,  each  of  the  flanking  figures 
leaning  more  or  less  obviously  toward  it.  It  should  be  noted  that  there  was 
no  intention  on  the  part  of  the  painter  to  magnify  the  importance  of  the  four 
figures  thus  represented  over  any  of  the  others.  The  emphasis  of  color  is 
solely  for  decorative  purposes.  The  arrangement  being  chronological,  Mr. 
Blashfield  was  unable  to  exercise  much  control  over  the  order  in  which  each 
figure  should  occur,  and  still  retain  his  original  selection  of  countries. 

Egypt  is  represented  by  a male  figure  clad  in  the  waistcloth  and  cap  with 
lappets  so  familiar  in  the  ancient  monuments.  The  idea  of  Written  Records 

72 


is  brought  out  by  the  tablet  he  supports  with  his  left  hand,  on  which  is  inscribed 
in  hieroglyphics  the  cartouche  or  personal  seal  of  Mena,  the  first  recorded  Egyp- 
tian king ; and  by  the  case  of  books  at  his  feet,  which  is  filled  with  manuscript 
rolls  of  papyrus,  the  Egyptian  paper.  Besides  the  idea  of  Writing  and  Record- 
ing, Mr.  Blashfield  brings  out  the  fact  that  the  Egyptians  were  among  the  first 
who  held  the  doctrine  of  the  immortality  of  the  soul.  The  figure  holds  in  the 
right  hand  the  Tau,  or  cross  with  a ring  head,  the  emblem  of  life  both  in  this 
world  and  beyond  it ; and  on  the  tablet  behind  his  feet  is  the  winged  ball,  the 
more  familiar  symbol  of  the  same  idea. 

Judea  is  shown  as  a woman  lifting  her  hands  in  an  ecstatic  prayer  to  Jehovah. 
The  over-garment  which  she  wears  falls  partly  away,  and  discloses  the  ephod, 
which  was  a vestment  worn  by  the  high  priests,  ornamented  with  a jewelled 
breastplate  and  with  onyx  shoulder  clasps  set  in  gold,  on  which  were  engraved 
the  names  of  the  Twelve 
Tribes  of  Israel.  On  the 
face  of  a stone  pillar  set 
beside  her  is  inscribed,  in 
Hebrew  characters,  the 
injunction,  as  found  in 
Leviticus,  xix,  1 8 : Thou 
shalt  love  thy  neighbor  as 
thyself  — a sentence  se- 
lected as  being  perhaps 
the  noblest  single  text 
contributed  by  the  Jewish 
race  to  the  system  of 
modern  morality.  In  her 
lap  is  a scroll,  containing, 
presumably,  a portion  of 
the  Scriptures  ; and  at  her 
feet  is  a censer,  typical  of 
the  Hebrew  ritualism. 

The  figure  of  Greece  is 
distinctly  suggestive,  so 
far  as  attitude  and  drapery 
are  concerned,  of  one  of 
the  beautiful  little  Tanagra 
figures  of  terra-cotta  — so  called  from  the  ancient  Greek  town  in  which  they 
were  first  discovered  — which  are  so  familiar  to  students  of  Greek  art.  A 
bronze  lamp  is  set  beside  her,  and  in  her  lap  is  a scroll  — the  emblems  of 
wisdom.  Her  head  is  crowned  with  a diadem  — possibly  with  a reference  to 
the  City  of  the  Violet  Crown,  Athens,  the  Mother  of  Philosophy. 

Rome , the  second  axial  figure,  wears  the  armor  of  a centurion,  or  captain  in 
a legion.  A lion’s  skin,  the  mark  of  a standard-bearer,  is  thrown  over  him,  the 
head  covering  the  top  of  his  casque.  The  whole  conception  is  that  of  the  just 
but  inexorable  administration  of  Rome  founded  upon  the  power  of  its  arms. 
One  foot  is  planted  upon  the  lower  drum  of  a marble  column,  signifying  sta- 
bility. His  right  arm  rests  upon  the  fasces,  or  bundle  of  rods,  the  typical  em- 
blem of  the  Roman  power  and  rule.  In  his  right  hand  he  holds  the  baton  of 
command. 


THE  HUMAN  UNDERSTANDING. — BY  E.  H.  BLASHFIELD. 


73 


Islam  is  an  Arab,  standing  for  the  Moorish  race  which  introduced  into  Eu- 
rope not  only  an  improved  science  of  Physics,  as  here  used  by  Mr.  Blashfield 
in  its  older  and  less  restricted  sense  — but  of  mathematics  and  astronomy  also. 
His  foots  rests  upon  a glass  retort,  and  he  is  turning  over  the  leaves  of  a book 
of  mathematical  calculations. 

By  the  term  Middle  Ages , represented  by  the  female  figure  which  comes  next 
in  the  decoration,  is  usually  understood  the  epoch  beginning  with  the  dissolution 
of  the  Western  Roman  Empire  in  455  and  ending  with  the  discovery  of  Amer- 
ica in  1492.  No  single  country  is  here  indicated,  for  Europe  was  throughout 
that  period  in  a state  of  flux,  so  to  say,  in  the  movement  of  which  the  principal 
modern  languages  were  finally  evolved  from  the  Latin  and  Teutonic  tongues. 
But  it  was  an  epoch  notable  for  many  other  things,  also.  The  figure  typifying 
the  epoch  is  distinguished  by  an  expression  at  once  grave  and  passionate,  and 
has  a sword,  casque  and  cuirass,  emblematic  of  the  great  institution  of  Chivalry ; 


SECTION  OF  THE  DOME  DECORATION.  — BY  EDWIN  H.  BLASHFIELD. 

a model  of  a cathedral,  standing  for  Gothic  Architecture,  which  was  brought  to 
its  greatest  perfection  in  these  thousand  years ; and  a papal  tiara  and  the  keys 
of  St.  Peter,  signifying  mediaeval  devotion  and  the  power  of  the  Church. 

The  next  figure,  Italy  — the  Italy  of  the  Renaissance  — is  shown  with  sym- 
bols of  four  of  the  Fine  Arts  which  she  represents  — Painting,  Sculpture,  Archi- 
tecture, and  Music.  She  holds  a palette  in  her  left  hand,  and  with  the  brush 
in  her  right  seems  about  to  lay  another  stroke  of  color  on  her  canvas.  To  her 
left  is  a statuette  after  Michael  Angelo’s  celebrated  David , in  Florence.  At  her 
feet  is  a Renaissance  capital ; and  leaning  against  the  wall  a violin,  at  once  the 
typical  musical  instrument  and  that  in  the  manufacture  of  which  the  Italians 
peculiarly  excelled. 

Germany  is  the  printer,  turning  from  his  press  — a hand-press,  accurately 
copied  from  early  models  — to  examine  the  proof-sheet  he  has  just  pulled. 
His  right  foot  is  placed  upon  a pile  of  sheets  already  corrected,  and  a roller  for 
inking  lies  convenient  to  his  hand. 


74 


Spain  is  the  sixteenth  century  Spanish  adventurer.  He  wears  a steel  morion 
on  his  head,  and  is  clad  in  a leathern  jerkin.  Holding  the  tiller  of  a ship  in 
his  right  hand,  he  seems  to  be  watching  for  land  to  appear  in  the  sea. 
Beside  him  is  a globe  of  the  earth,  and  at  his  feet  a model  of  a caravel,  the  sort 
of  ship  in  which  Columbus  sailed  on  his  voyages,  is  introduced. 

England  wears  the  ruff  and  full  sleeves  of  the  time  of  Elizabeth  — the  era 
when  English  Literature,  both  poetry  and  prose,  was  at  its  highest.  She  is 
crowned  with  laurel  — the  reward  of  literature  — and  bears  in  her  lap  an  open 
book  of  Shakespeare’s  Plays  — the  right-hand  page  with  a facsimile  of  the  title- 
page  of  the  first  edition  of  A Midsummer  Night's  Dream , dated  1600. 

France , standing  for  Emancipation  and  the  great  revolutionary  upheaval  of 
the  eighteenth  century,  is  dressed  in  a characteristic  garb  of  the  First  Republic 
— a jacket  with  lapels,  a tricolor  scarf,  and  a liberty-cap  with  a tricolor  cock- 
ade. She  sits  on  a cannon  and  carries  a drum,  a bugle,  and  a sword  — emblems 


SECTION  OF  THE  DOME  DECORATION.  — BY  EDWIN  H.  BLASHFIELD. 


of  her  military  crusade  in  behalf  of  liberty.  In  her  left  hand  she  displays  a 
scroll  bearing  the  words  “ Les  Droits  de  l’Homme,”  the  famous  Declaration  of 
the  Rights  of  Man  adopted  by  the  French  Assembly  in  1789. 

The  twelfth  and  last  figure,  bringing  us  once  more  round  to  the  east,  is  that 
of  America  — represented  as  an  engineer,  in  the  garb  of  the  machine-shop, 
sitting  lost  in  thought  over  a problem  of  mechanics  he  has  encountered.  He 
leans  his  chin  upon  the  palm  of  one  hand,  while  the  other  holds  the  scientific 
book  which  he  has  been  consulting.  In  front  of  him  is  an  electric  dynamo  — 
recalling  the  part  which  the  United  States  has  taken  in  the  advancement  of 
electrical  science. 

On  the  base  of  the  dynamo,  Mr.  Blashfield  has  signed  his  work  in  an  in- 
scription which  recalls  also  the  name  of  the  artist  who  assisted  him  in  laying  it 
upon  the  plaster : “ These  decorations  were  designed  and  executed  by  Edwin 
Howland  Blashfield,  assisted  by  Arthur  Reginald  Willett,  A.  D.  MDCCC- 
LXXXXVI.” 


75 


The  visitor  will  perhaps  have  been  a little  perplexed  by  the  familiar  appear- 
ance of  some  of  the  faces  in  Mr.  Blashfield’s  decoration.  It  is  an  interesting 
fact  that  in  several  cases  Mr.  Blashfield  has  introduced  a resemblance,  more  or 
less  distinct,  to  the  features  of  some  real  person  in  order  to  give  greater  vari- 
ety, and,  above  all,  greater  vitality  to  his  figures.  The  persons  chosen  were 
selected  because  the  character  of  their  features  seemed  to  him  peculiarly  suited 
to  the  type  which  he  wished  to  represent.  In  the  case  of  Abraham  Lincoln  — 
the  figure  of  America  — and  of  General  Casey  — the  Germany — the  choice 
was  fitting  for  other  reasons.  Among  the  female  figures,  The  Middle  Ages  is 
Mrs.  De  Navarro  (Mary  Anderson),  and  England , Miss  Ellen  Terry.  The 
faces  of  Italy  and  Spain  are  from  sketches  made  from  Miss  Amy  Rose,  a young 
sculptor  in  New  York,  and  Mr.  William  Bailey  Faxon,  the  painter,  respectively. 

France  suggests  the  features  of  the  artist’s  wife. 
Throughout,  however,  it  must  be  remembered 
that,  to  use  Mr.  Blashfield’s  own  words,  “ no 
portraiture  has  been  attempted,  but  only  charac- 
terization.” 

The  Rotunda  Color  Scheme.  — One  can 

hardly  leave  this  description  of  the  decoration  of 
the  Rotunda  without  a word  respecting  the  gen- 
eral color  scheme.  Beginning  with  the  brown, 
red,  and  yellow  marbles  at  the  base,  one  ends 
with  the  pure  whites  and  bright  greens  and  violets 
of  Mr.  Blashfield’s  final  decoration.  The  differ- 
ence between  these  two  extremes  has  been 
bridged  over  by  the  use  of  harmonizing  colors 
on  the  walls  and  in  the  dome.  The  Pompeiian 
red  of  the  alcove  walls  and  the  pendentives  is 
suggested  by  the  Numidian  marble  of  the  piers. 
A touch  of  brown  on  the  wall  below  the  semicircu- 
lar windows  echoes  the  brown  Tennessee  base,  and 
the  yellow  predominant  in  the  alcove  arches 
above  derives  from  the  Sienna  screens.  These 
last,  again,  in  their  lightest  portions,  strike  the 
key  for  the  “ old  ivory  ” — the  delicate  gray 
yellow — which,  either  deeper  or  lighter,  is  always 
the  ruling  tone  of  the  entablature,  the  dome, 
and  the  sculptural  figures  in  plaster.  The 
coffers  of  the  dome,  one  will  notice  by  looking  closely,  are  defined  by  a 
narrow  band  of  yellow  or  red  — yellow  throughout  one  whole  compartment, 
and  red  in  the  next.  The  former  carries  up  (more  markedly  than  in  the 
ivory-toned  stucco)  the  color  of  the  screens;  the  latter  the  color  of  the 
piers.  The  blue  ground,  moreover,  and  the  yellow  stripe  create  together, 
whether  one  will  or  not,  an  impression  of  green  upon  the  eye,  because  green 
is  compounded  of  blue  and  yellow ; and  the  blue  and  the  red,  in  turn,  create 
an  impression  of  violet,  for  a similar  reason.  Thus,  the  visitor,  glancing  up  to 
the  decorations  of  the  collar,  is  already  prepared  for  Mr.  Blashfield’s  two  dom- 
inating tones.  The  white  is  expected  as  the  natural  result  of  a color  scheme 
which  has  been  steadily  growing  lighter  from  the  beginning,  and,  after  being 
used  in  Mr.  Blashfield’s  painting,  it  is  at  last  appropriately  employed  almost 

76 


solely  in  the  lantern  which  crowns  the  whole  Rotunda.  Finally,  considering 
the  room  as  a whole,  it  will  be  noted  that  the  profuse  use  of  gold  throughout 
the  dome  and  lantern  is  not  only  legitimately  suggested  by  the  Sienna  marble, 
but  of  itself  helps  to  keep  the  various  colors  — in  marble  or  stucco  — in  what 
may  be  called  a more  complete  “ state  of  solution  ” than  would  otherwise  have 
been  possible.  By  attracting  attention  to  itself,  it  softens  the  contrasts  be- 
tween the  other  colors. 

The  floor  of  the  Rotunda  is  a kind  of  mosaic,  known  as  terrazzo , ornamented 
with  great  concentric  bands  of  Tennessee  marble.  Terrazzo , sometimes  called 
“ chip  mosaic  ” or  “granito,”  is  made  by  sprinkling  a layer  of  small  pieces  of 
marble  upon  a bed  of  Portland  cement, 
rolling  it  all  down  so  that  the  pieces  are 
thoroughly  embedded,  and,  after  it  is  dry, 
rubbing  it  down  smooth  with  sandstone. 

When  carefully  prepared,  it  makes  an 
especially  durable  floor. 

Provision  for  Readers.  — The 
reading  desks  are  arranged  in  three  cir- 
cles, surrounding  the  Distributing  Desk  as 
a centre.  Each  row  contains  eight  desks, 
leaving  room  between  for  aisles  radiating 
from  the  central  desk.  They  are  con- 
structed of  dark,  heavy  mahogany,  and  are 
supported  on  iron  standards  with  gratings 
admitting  warm  or  fresh  air,  for  heating 
and  ventilation.  The  inmost  row  is  a 
combination  of  reading- tables,  settees, 
and  standing  writing-desks,  with  shelves 
for  reference  books,  — encyclopaedias, 
dictionaries,  directories,  atlases,  etc.,  — 
of  which  there  is  a very  full  selection. 

The  outer  rows  are  double-faced,  and 
arranged  exclusively  for  persons  reading 
and  studying.  Allowing  each  a space  of 
four  feet,  the  desks  are  capable  of  seating 
altogether  two  hundred  and  forty-six 
readers.  Including  the  alcoves,  which,  on 
account  of  the  number  of  separate  spaces 
they  contain,  are  well  adapted  to  the  use  of 
special  students,  particularly  those  desiring  to  turn  over  a large* number  of 
books  at  one  time,  the  total  number  of  readers  that  can  be  accommodated  in 
the  Rotunda  is  two  hundred  and  eighty-nine. 

The  Distributing  Desk  is  surrounded  by  a circular  counter  for  attendants, 
and  for  delivering  and  receiving  books,  and  cases  containing  a card  catalogue 
of  the  Library,  arranged  alphabetically  in  shallow  drawers  according  to  the  sub- 
ject, author,  and  title.  It  has  been  the  policy  of  the  Library  from  the  begin- 
ning, moreover,  to  issue  its  catalogue  in  printed  volumes,  new  editions  being 
prepared  as  the  old  ones  became  obsolete  on  account  of  fresh  accessions.  Of 
late  years,  however,  the  Library  has  grown  so  enormously  that  the  annual  ap- 
propriations of  Congress  have  not  been  sufficient  to  warrant  this  undertaking. 

77 


The  latest  volumes  were  published  in  1881,  and  carried  the  catalogue  only 
through  the  letter  “ C.” 

Within  the  enclosures  formed  by  these  various  desks  and  cabinets  is  a small 
elevator  for  bringing  books  by  the  truck-load  from  the  basement  story.  The 
Distributing  Desk  itself  is  built  of  mahogany,  ornamented  with  panelling  and 
carving.  On  the  east  side  it  consists  of  a high  station  for  the  use  of  the  Super- 
intendent — the  officer  in  charge  in  the  Rotunda  — who  is  thus  able  to  keep 
in  touch  with  everything  doing  in  the  room.  On  the  other  side  is  a cabinet 
containing  the  terminus  of  the  system  of  book-carrying  apparatus  connecting 
the  Reading  Room  and  Stacks,  and  in  the  centre  is  a stairway  leading  to  the 
basement.  Along  the  front  of  the  desk,  also,  is  a row  of  twenty-four  pneu- 
matic tubes  for  the  transmission  of  messages, 
either  in  cylindrical  pouches,  as  in  the  case  of 
the  written  applications  which  those  desiring  to 
draw  books  are  required  to  make  out,  or  verbally, 
by  means  of  a mouth- piece  with  which  each  tube 
is  equipped.  Nine  tubes  go  to  the  North  Stack 
and  nine  to  the  South  Stack,  or  one  for  every 
floor.  Four  go  to  the  East  Stack,  or  one  to  every 
other  floor.  An  attendant  for  any  portion  of  the 
stack  system  can  thus  be  reached  at  a moment’s 
notice.  Of  the  other  two  tubes,  one  goes  to  the 
Librarian’s  Room  and  the  other  connects  with 
the  Capitol. 

Each  tube  is  numbered,  and  is  operated  by 
pressing  a button,  the  action  of  which  indicates, 
also,  when  the  pouch  is  delivered  at  the  other  end. 
Each  tube  terminates  in  a separate  bronze  case 
or  box,  which  is  heavily  cushioned,  and  closed 
by  self-shutting  glass  doors  in  order  to  prevent 
noise.  The  tube  enters  at  the  bottom,  and  the 
pouch  is  thrown  against  a curved  “hood,”  so 
called,  which  guides  it  to  one  side  so  that  it  may 
not  fall  back  into  the  mouth  of  the  tube. 

The  Book=Carrying  Apparatus.  — The 
main  features  of  the  book- carrying  apparatus 
were  suggested  by  Mr.  Green,  although  worked 
out  with  the  assistance  of  ingenious  mechanics. 
The  apparatus  is  in  two  parts,  each  separately 
operated,  the  first  of  which  connects  with  the  North  Stack  and  the  second 
with  the  South  Stack.  The  East  Stack  is  so  much  less  extensive  than  the  other 
two  that  it  was  thought  more  economical  to  rely  solely  upon  the  services  of  the 
attendants  for  the  delivery  and  return  of  the  books  it  contained.  Each  section 
of  the  apparatus  (north  or  south)  consists  of  a pair  of  endless  chains  kept  con- 
tinuously in  motion,  at  the  rate  of  about  one  hundred  feet  a minute,  by  means 
of  power  furnished  by  an  electric  dynamo.  These  two  chains  run  from  the 
terminal  cabinet  to  the  basement ; thence  on  a level  to  the  stacks ; and  from 
there  directly  up  a small  well  to  the  top  floor,  where  they  turn  and  descend. 

The  cable  carries  eighteen  trays,  distributed  at  regular  intervals.  Each  tray 
is  capable  of  carrying  a volume  the  size  of  the  ordinary  quarto,  (say  eleven 

78 


inches  by  ten,  and  four  inches  thick),  or  its  equivalent  in  smaller  volumes. 
Larger  books  must  be  carried  by  hand  down  the  elevator  with  which  each  stack 
is  provided.  The  tray  is  of  brass,  made  in  the  form  of  a hooked  comb,  the 
ends  of  the  teeth  being  left  free.  The  terminal  cabinet  and  all  the  stack 
stories  are  provided  with  toothed  slides,  the  teeth  of  which  engage  with  those 
of  the  trays,  and  rake  off  or  deliver  the  books,  as  the  case  may  be.  If  one 
bends  and  slightly  opens  the  fingers  of  both  hands,  and  then  draws  the  fingers 
of  one  through  those  of  the  other,  the  general  principle  of  the  arrangement  will 
immediately  be  seen.  The  tray,  however,  can  receive  books  only  when  going 
up,  and  can  deliver  them  only  when  coming  down.  When  a book  is  received 
by  a slide  it  falls  into  a padded  basket,  ready  to  be  taken  to  its  place  on  the 
shelves  or  delivered  to  the  reader.  When  the 
attendant  desires  to  deliver  a book  to  the  Rotunda, 
he  places  it  on  the  slide,  and  sets  the  latter  so  that 
it  will  be  ready  to  meet  the  first  tray  which  arrives. 

In  returning  books,  the  officer  at  the  Distributing 
Desk  must  set  a little  lever  on  a dial  at  the  number 
of  the  stack  for  which  the  book  is  intended.  When 
the  tray  approaches  the  proper  floor,  the  slide  is 
automatically  pushed  out  to  receive  the  load. 

Connection  with  the  Capitol.  — It  is  calcu- 
lated that,  by  means  of  the  pneumatic  tubes  and  the 
book-carrying  apparatus,  it  will  require  no  more  than 
six  or  seven  minutes  to  bring  a book  from  the  stacks, 
from  the  time  it  is  first  called  for.  Valuable,  how- 
ever, as  is  the  use  of  machinery  in  connecting  widely 
distant  portions  of  the  Library,  it  is  even  more  im- 
portant as  a factor  in  bringing  together  the  Library 
itself  and  the  Capitol,  where  hardly  an  hour  passes, 
during  a session  of  Congress,  but  some  member 
desires  to  draw  books  for  immediate  use  in  debate  or 
committee  work.  The  distance  between  the  two 
buildings  is  about  a quarter  of  a mile  (twelve  hundred 
and  seventy-five  feet).  This  is  covered  by  a tunnel 
having  at  one  end  a terminus  in  the  basement  almost 
immediately  beneath  the  Distributing  Desk,  and  at  the 
other  end  in  a room  in  the  Capitol  about  midway  fulton. 

between  the  Senate  and  House  of  Representatives.  BY  EDWARD  c.  potter. 
The  tunnel  is  built  of  brick,  is  perfectly  dry,  and  about  six  feet  high  and  four  feet 
wide,  or  just  large  enough  for  a man  to  enter  and  make  any  needed  repairs.  An 
endless  cable,  kept  moving  by  a similar  force  to  that  which  supplies  the  appara- 
tus connecting  with  the  stacks,  carries  two  trays  back  and  forth  between  the  ter- 
minals, receiving  and  delivering  books  by  the  same  arrangement  of  teeth  as  has 
just  been  described.  The  trays  are  much  larger,  however,  than  the  others,  and 
are  capable  of  containing  the  largest  volumes,  such  as  bound  volumes  of  news- 
papers. The  speed  at  which  the  cable  runs  is  about  six  hundred  feet  a minute, 
delivering  a book  at  the  Capitol  within  three  minutes  after  it  has  left  the 
Library.  In  addition  to  the  book-carrier,  the  tunnel  contains  the  pneumatic 
tube  already  spoken  of,  and  the  wires  of  private  telephones  connecting  the 
two  Houses  of  Congress  with  the  Distributing  Desk.  So  quickly  can  a 

79 


message  be  sent  and  a book  returned,  that  it  is  said  that  a Congressman  can 
get  the  volumes  he  desires  in  less  time  than  it  would  have  taken  him  when  the 
Library  occupied  its  old  quarters  in  the  Capitol  itself. 


THE  BOOK=STACKS, 


From  the  point  of  view  of  library  equipment  and  management,  however, 
the  three  great  book-stacks  radiating  from  the  Rotunda  are  the  most  interesting 
and  remarkable  feature  of  the  building.  They  were  entirely  planned  by  Mr. 
Bernard  R.  Green,  the  engineer  in  charge  of  the  construction  of  the  Library. 
The  word  “ planned,”  indeed,  is  hardly  adequate ; “ invented  ” would  be  nearer 
the  exact  fact.  The  idea  of  a book-stack,  as  distinguished  from  a mere  arrange- 
ment of  bookcases,  is  so  new  that  such  examples  as 
were  in  existence  when  Mr.  Green  entered  upon  the 
work  were  imperfect  in  many  very  important  points. 

The  root  purpose  of  a book-stack,  of  course,  is  to 
make  it  capable  of  holding  the  greatest  number  of 
volumes  in  the  smallest  possible  space  — always,  how- 
ever, bearing  in  mind  that  every  book  must  be  per- 
fectly accessible  and  so  placed  that  it  can  be  easily 
and  quickly  handled.  The  space  being  limited  and  the 
number  of  volumes  large,  the  old  way  of  arranging 
cases  along  the  walls,  even  when  the  wall  space  is 
materially  increased  by  dividing  a room  into  alcoves, 
has  to  be  abandoned  in  favor  of  a more  compact  system. 
The  modern  substitute  is  to  erect  the  cases  in  stories, 
or  tiers,  with  corridors  and  passages  only  large  enough 
to  give  convenient  access  to  the  books.  Throughout, 
the  aim  of  the  builder  is  to  dispose  of  every  inch  of 
space  as  economically  as  possible.  Of  the  three  stacks 
in  the  Library  of  Congress,  those  to  the  north  and  south 
are,  as  the  visitor  has  seen,  the  largest,  each  having  a 
length  of  one  hundred  and  twelve  feet  against  thirty 
for  the  East  Stack.  All  three  are  of  the  same  width, 
however  — forty-five  feet  — and  the  same  height  — 
sixty- three  feet.  The  method  of  construction  is  the 
same  throughout,  and  each  is  absolutely  fireproof,  the 
only  materials  used  being  steel,  iron,  brick,  glass,  and 
marble.  Few  things  which  can  be  destroyed  by  fire  at  all  are  more  difficult  to 
burn  than  books,  and  a fire  in  the  stacks,  even  if  carefully  nursed  by  an  incen- 
diary, could  hardly  do  more  than  a trifling  injury. 

Arrangement  and  Construction.  — The  stacks  are  divided  into  nine 
tiers,  each  tier  being  seven  feet  high,  and  into  an  equal  number  of  stories  the 
same  distance  apart.  This  distance  was  adopted  in  order  that  the  books  on 
the  highest  shelf  of  a tier  might  not  be  beyond  the  convenient  reach  of  a man 
of  average  height,  or  so  far  away  that  he  could  not  easily  read  their  titles.  By 
the  present  arrangement  every  book  can  be  handled  or  its  title  read  without 
effort. 

The  stacks  begin  at  the  basement  story,  which  is  fourteen  feet  below  the  level 
of  the  floor  of  the  Rotunda.  They  are  sixty- three  feet  in  height  — the  sum,  that  is, 

80 


PLATO. 

BY  JOHN  J.  BOYLE. 


of  the  nine  seven-foot  stories  — and  are  topped  by  an  iron  covering,  so  that  any 
water  which  might  by  accident  come  through  the  roof  would  be  shed  without 
harming  the  books.  The  construction  of  the  shelving  is  entirely  of  steel  and 
iron.  The  unit  of  construction,  as  it  may  be  technically  called,  is  a steel 
column  erected  on  a firm  foundation  and  extending  the  height  of  the  stack. 
There  are  over  three  hundred  of  them  in  each  of  the  two  large  stacks.  At  the 
bottom  of  every  tier  above  the  basement  is  a horizontal  framework  of  steel  bars, 
running  between  the  columns,  the  length  and  width  of  the  stack,  and  securely 
anchored  to  the  walls.  These  cross-pieces  perform  a double  service  : they  brace 
the  upright  columns  and  prevent  them  from  bending  under  the  weight  they 
bear,  and  they  are  supports  on  which  to  lay  the  decks.  The  cases,  that  is,  do 
not  rest  on  the  flooring,  but  the  flooring  on  the 
general  system  of  the  cases.  It  may  be  added  that 
with  the  strong  and  simple  framing  that  is  used 
the  stacks  might  very  well  have  been  carried  a dozen 
stories  higher  without  materially  increasing  the  size  of 
the  columns. 

The  ranges  — by  which  is  meant  the  cases  for  books 
— are  of  iron,  divided  into  six  compartments  by 
partitions  bolted  to  the  columns.  They  are  double- 
faced,  each  side  being  a foot  deep,  and  have  no  backs. 

On  the  front  edge  of  each  partition  are  blunt  teeth, 
and  near  the  back  edge  is  a vertical  row  of  horns,  both 
serving  to  hold  the  shelves  in  place.  The  ranges  are 
at  right  angles  with  the  wall,  so  that  there  is  no 
opportunity  for  the  occurrence  of  what  are  called 
“ dead  angles”  — waste  spaces  in  which  it  is  impos- 
sible to  put  books. 

The  ranges  are  nineteen  and  a quarter  feet  long, 
and  in  both  of  the  larger  stacks  are  forty- two  in 
number,  twenty-one  on  each  side  of  the  stack,  leaving 
a corridor  between  every  story  the  length  of  the  gal- 
lery. Between  them  are  aisles  three  feet  four  inches 
wide.  Near  the  middle  of  the  stack  a couple  of 
ranges  are  omitted  to  give  room  for  staircases  up  and 
down,  an  elevator  well,  large  enough  to  carry  an 
attendant  and  a truck-load  of  books ; and  the  shaft 
or  well  for  the  book-carriage  service. 

The  decks  themselves  are  of  white  marble,  two  and  a half  feet  wide  in  the 
aisles  and  five  and  a half  in  the  corridors,  set  in  an  iron  frame.  This  leaves  a 
five-inch  slit  on  either  side,  between  it  and  the  range.  The  space  is  too  nar- 
row and  too  close  to  the  range  for  anyone  to  step  through,  and  in  order  that 
any  small  article  may  not  roll  off,  the  deck  is  protected  by  a raised  edge.  It 
would,  of  course,  be  possible,  though  difficult,  to  drop  a book  down  the  slit, 
in  which  case,  however,  it  would  be  very  sure  to  lodge  long  before  it  struck 
the  basement  floor.  If  found  necessary,  any  such  accident  could  be  prevented 
by  protecting  the  opening  with  a wire  netting.  The  advantages  of  an  open 
space  are  many,  however : attendants  may  speak  to  one  another  from  deck  to 
deck  without  the  trouble  of  going  to  the  stairways ; light  is  diffused  through 
it ; and  it  keeps  the  books  on  the  lower  shelves  from  damage,  either  by  being 

81 


GIBBON. 

BY  CHARLES  H.  NIEHAUS. 


carelessly  struck  by  the  foot  or  one  of  the  wheeled  trucks  used  to  carry  books 
from  the  shelves  to  the  elevator  well. 

Ventilation  and  Heating.  — Especially,  by  allowing  a free  circulation 
of  air,  these  desk- slits  help  to  heat  and  ventilate  the  stacks.  Ventilation  is 
especially  important.  Books  require  pure  air  almost  as  much  as  human  beings 
do ; if  they  do  not  get  it  they  grow  “ musty,”  and  gradually  decay.  As  will  have 
been  seen,  the  whole  structure  of  the  stack  is  open  ; nothing  is  closed,  even  the 
partitions  in  the  ranges  being  made  in  the  form  of  gratings.  The  system  of 
ventilation  and  heating  is  one  and  the  same,  and  both  require  the  freeest 
circulation  of  air.  Air  is  taken  into  the  cellar  through  the  windows  looking 
out  into  the  court-yards,  first,  however,  passing  through  filters  of  cotton  cloth 
to  exclude  all  dust ; after  being  warmed  it  ascends  through  gratings  to  the  roof, 
where  it  passes  out  through  ventilating  flues.  In  this  way  the  temperature  is 
everywhere  kept  very  nearly  even.  Electric  fans  are  ready  for  use  in  case  of 
any  sluggishness  in  the  circulation,  and  in  summer  are  also  used  for  sending 
cooled  air  into  the  stack. 

The  Shelving. —The  shelves  themselves  are  open,  being  composed  of 
parallel  strips  of  steel  with  a narrow'  space  between.  The  total  number  of 
shelves  in  the  three  stacks  is  sixty-nine  thousand  two  hundred.  Each  is  one 
foot  wide  and  thirty-eight  inches  long,  with  a total  length  of  forty  and  a 
half  miles.  They  are  capable  of  sustaining  a weight  of  forty  pounds  a square 
foot  — more  than  will  ever  be  required  of  them  — with  practically  no  deflec- 
tion. Nevertheless,  though  so  much  stiff er,  they  are  as  light  as  the  ordinary 
board  shelf  of  the  same  size.  They  can  be  easily  and  quickly  adjusted  at  any 
height,  without  the  need  of  pegs  or  loose  screws.  Once  in  place  they  cannot 
slip  or  tip,  and  being  made  in  a uniform  size  (with  some  small  exceptions  for 
certain  irregular  spaces  around  stairways,  etc.),  every  shelf  is  available  for  use 
anywhere.  There  are  no  rough  edges  or  projections  on  which  a book  can 
wear,  and  the  parallel  strips  of  steel  are  rounded  and  highly  polished  by  means 
of  the  Bower- Barff  process  of  coating  with  magnetic  oxide  of  iron,  so  that  the 
surface  is  as  smooth  as  glass  — which  not  only  helps  to  preserve  the  books,  but 
can  offer  no  lodgement  for  dust  or  insects.  The  open  spaces,  also,  afford  an 
opportunity  for  using  a workable  book-brace,  specially  devised  by  Mr.  Green. 

Furthermore,  the  shelves  can  be  removed  from  any  compartment  as  desired, 
and  space  thus  made  for  a table,  a cabinet,  or  a desk,  as  needed ; or  an  extra 
corridor  can  be  at  once  opened  for  any  distance.  Then  again,  in  case  of  the 
extra  large  books,  sufficient  space  may  be  made  by  placing  the  shelves  of  both 
sides  of  the  range  on  a level. 

Lighting.  — No  point  was  more  carefully  studied  in  the  construction  of 
the  stacks  than  the  lighting.  Preliminary  plans  requiring  an  immense  amount 
of  labor  were  made,  showing  the  amount  of  direct  sunlight  which  any  portion 
of  the  three  arms  would  receive  at  any  hour  of  the  day,  any  month  in  the 
year.  Skylights  along  the  line  of  the  corridors  help  light  the  upper  tiers. 
The  walls  are  honeycombed  with  windows  from  top  to  bottom.  In  the  north 
and  south  stacks  there  are  no  less  than  three  hundred  and  sixty.  They  occur 
at  the  ends  of  the  passageways  between  the  ranges,  being  placed  at  the  inter- 
sections of  the  decks,  so  that  each  may  diffuse  direct  light  into  two  tiers  at 
once.  In  this  way  there  can  be  no  perceptible  difference  in  the  amount  of 
light  cast  into  the  upper  and  lower  portions  of  the  tiers.  At  the  end  of  each 
passageway  the  window  is  fitted  with  a seat  for  the  use  of  the  readers  admitted 

82 


bindings  of  the  books  to  fade  ; everywhere  else  the  clear  open  plates  invite  the 
entrance  of  all  the  illumination  which  can  be  obtained.  Each  window  con- 
sists of  a single  piece  of  polished  plate  glass  three  feet  wide,  and  permanently 

83 


to  the  stacks,  or  attendants.  Ground  glass  is  employed  for  the  windows  on  the 
east  side  of  the  south  stack,  where  the  sunlight  is  so  abundant  and  continuous 
that  it  would  be  inconvenient  if  admitted,  besides  being  likely  to  cause  the 


THE  ROTUNDA,  LOOKING  EAST. 


sealed,  so  that  no  dust  or  moisture  can  ever  penetrate  it.  In  order  to  wash 
the  glass  from  the  outside  the  wall  is  fitted  at  convenient  intervals  with  skele- 
ton galleries.  The  courts  themselves  give  an  abundance  of  full,  bright  light ; 
and  that  none  of  it  may  be  wasted,  and  in  order  that  it  may  be  evenly  dis- 
tributed through  the  tiers,  both  at  the  bottom  and  top  of  the  stacks,  the 
walls  of  the  courts  are  constructed  of  yellow  enamelled  brick,  which  makes  an 
admirable  reflector,  on  rainy  as  well  as  on  sunny  days.  Inside,  the  marble 
decks  are  highly  polished,  so  that  they,  too,  serve  as  efficient  reflectors,  casting 
the  light  which  they  receive  into  every  nook  and  cranny  of  the  stack.  Eve- 
nings, the  light  is  furnished  by  incandescent  lamps,  with  which  the  passages  and 
corridors  are  abundantly  equipped,  and  here  again  the  polished  decks  serve  a 
most  useful  purpose  in  diffusing  the  brilliant  illumination  throughout  the  whole 
system  of  shelving.  Altogether,  it  may  be  very  confidently  stated  that  no 
great  collection  of  books  was  ever  before  so  thoroughly  and  conveniently 
lighted,  whether  in  the  day  or  at  night. 

THE  LANTERN. 

Before  leaving  the  Rotunda  it  should  be  added  that  it  is  possible  to  ascend 
into  the  Lantern  by  taking  either  of  the  winding  iron  staircases  in  the  piers  on 
the  left  and  right  of  the  west  gallery.  The  staircases  in  all  the  piers  carry 
one  up  into  the  space  between  the  two  shells  of  the  dome,  where  it  will  be 
necessary  from  time  to  time  for  workmen  to  go  in  order  to  paint  the  iron 
framing  and  thus  preserve  it  from  rust  and  decay,  but  only  these  two  are  open 
to  the  public.  On  the  way  up  one  has  a chance  to  observe  the  interesting 
construction  of  the  dome ; and  in  the  Lantern,  which  is  left  unfinished  except 
in  the  portions  seen  from  below,  one  may  look  over  the  parapet  and  down  into 
the  Rotunda. 

By  taking  the  staircase  to  the  right,  moreover  — to  the  right  as  one  originally 
enters  the  gallery  from  the  Entrance  Hall,  that  is  — one  reaches  a door  through 
which  one  may  pass  out  to  a little  gallery  encircling  the  Rotunda  in  the 
open  air  and  affording  a beautiful  view  of  Washington  and  the  surrounding 
country. 

Or,  if  one  chooses  to  defer  this  little  expedition,  it  is  possible  to  make  the 
trip  without  retracing  one’s  steps  by  taking  the  elevator  on  the  first  story  of  the 
Entrance  Hall  and  getting  out  on  the  attic  floor,  from  which  one  may  enter 
either  of  the  two  stairways  just  described. 

THE  RECTANGLE. 

In  going  through  the  various  galleries  and  pavilions  of  the  Rectangle  it  is 
perhaps  more  logical  to  begin  on  the  library  floor,  but  supposing  the  visitor  to 
be  about  to  leave  the  Rotunda  by  the  way  in  which  he  has  come,  it  will  save  a 
little  time  to  take  the  second  story  first.  Both  are  alike,  so  far  as  the  arrange- 
ment of  rooms  is  concerned,  except  that  on  the  first  story  one  leaves  the  En- 
trance Hall  by  a narrow  corridor,  while  above  one  enters  the  galleries  directly. 
The  arrangement  is  very  simple,  as  will  be  seen  by  looking  at  the  plan  of  the 
building.  The  pavilions  are  connected  by  long  galleries,  two  on  the  west  and 
east  sides,  where  the  Rectangle  is  interrupted  by  the  centre  pavilions,  and  one 
each  on  the  north  and  south  sides.  The  corner  pavilions  of  both  floors 

84 


contain  octagonal-shaped  rooms,  which,  in  the  second  story,  have  domed  ceil- 
ings and  mosaic  floors,  and  are  richly  embellished  with  paintings  and  sculpture 
and  relief  decoration  in  stucco.  The  East  Pavilion  contains  a small  staircase 
and  a good  sized  but  plainly  finished  room  on  both  stories. 

The  rooms  on  the  second  story  are  intended  for  the  most  part  as  exhibition 
halls  for  the  display  of  works  of  art  which  have  come  into  the  possession  of  the 
Library  through  the  operation  of  the  copyright  law,  or  of  books  and  manu- 
scripts of  special  interest  on  account  of  their  rarity  and  curiosity.  One  room, 
for  example,  is  intended  to  contain  a collection  of  early  printed  books  and,  in 
general,  such  volumes  as  best  illustrate  the  history  of  printing ; another  room  is 


SOUTHWEST  GALLERY.  — THE  SCIENCES.  — BY  KENYON  COX. 

for  books  relating  to  the  early  history  of  America.  The  North  Gallery  is  the 
Map  Room ; the  South  Gallery  is  the  Print  Room,  for  engravings,  lithographs, 
etchings,  photographs,  etc.,  illustrating  the  progress  and  development  of  the 
reproductive  arts. 

There  is  space  here  to  speak  only  of  the  more  richly  decorated  of  these 
rooms  — the  corner  pavilions  and  the  two  galleries  on  the  west  side.  The 
others,  as  the  visitor  will  see  in  walking  through  them,  require  no  special  de- 
scription. The  walls  are  decorated  in  broad  masses  of  plain  color,  with  deep 
friezes  of  simple  but  interesting  patterns.  The  decoration  varies  from  room 
to  room,  but  all  are  united  in  a single  intelligent  harmony  of  color.  Each  con- 
tains a long  skylight  surrounded  by  a stucco  border  left  plain  in  most  of  the 

85 


galleries,  but  in  the  Print  Room  enriched  by  coffering  decorated  with  gilt 
“ cherubs’  wings.”  The  skylights  are  ornamented  with  a simple  design  of 
stained  glass.  The  chief  colors  employed  are  purple  and  pale  green  and  yellow, 
and  the  design  includes  the  names  of  men  distinguished  in  American  history 
and  in  art,  letters,  and  science.1 

SOUTHWEST  GALLERY. 

The  chief  decorations  of  the  gallery  into  which  one  goes  from  the  South 
Corridor  of  the  Entrance  Hall  are  two  large  tympanums  by  Mr.  Kenyon  Cox, 
one  at  each  end  of  the  room  over  the  triple  doors  by  which  one  enters  or 
leaves.  For  the  rest,  the  room  is  lighted,  like  the  other  galleries,  on  both 
sides,  so  that  one  may  look  out  toward  the  Capitol,  or,  on  the  east,  into  one  of 
the  interior  courts.  The  ceiling  is  an  elliptical  barrel  vault,  rising  to  a height 
of  twenty-nine  feet.  It  is  set  with  square  coffers  in  blue  and  gold,  and  divided 
by  double  ribs  which  spring  from  the  paired  pilasters.  Between  the  pilasters 
a bright-colored  arabesque  is  introduced,  in  which  blue  is  the  prevailing  color. 
It  is  continued  in  the  ceiling  by  an  arabesque  in  relief,  the  most  conspicuous 
features  of  which  are  seated  cherubs,  and  medallions  with  the  letters  “ C.  L.” 
— standing  for  “ Congressional  Library.”  The  floor  is  Vermont,  Italian,  and 
Georgia  marble,  laid  in  square  panels,  so  as  to  reflect,  in  a way,  the  pattern  of 
the  coffers  in  the  ceiling  above. 

Mr.  Cox’s  Paintings.  — Mr.  Cox’s  tympanums  are  thirty-four  feet  long 
and  nine  and  a half  feet  high.  At  the  south  end  of  the  room  the  subject  of 
the  decoration  is  The  Sciences , and  at  the  north  end,  The  Arts.  The  panels 
are  similar  in  composition,  occupying  as  they  do  exactly  corresponding  posi- 
tions. On  each  the  design  is  drawn  together  by  a low  marble  balustrade,  at  the 
centre  of  which  is  a semicircular  recess  enclosing  a kind  of  throne  or  high 
marble  seat.  At  either  end  of  the  recess,  so  as  to  come  directly  over  a pilas- 
ter occurring  between  the  doors,  is  a post  bearing  a tripod  on  which  incense 
is  burning.  The  effect  is  to  carry  the  lines  of  the  architecture  below  up  into 
the  painting. 

In  the  panel  of  The  Arts , the  central  throne  is  occupied  by  the  figure  of 
Poetry,  represented  as  a young  and  beautiful  woman  crowned  with  laurel  and 
bearing  an  antique  lyre.  She  is  seated  in  an  attitude  of  immediate  inspiration, 
the  fold  of  her  garment  blowing  in  the  wind,  her  left  hand  raised  from  the 
chord  which  she  has  just  struck  upon  the  lyre,  and  her  lips  parted  in  a burst 
of  song.  On  the  steps  of  her  throne  are  two  little  geniuses,  one  writing  down 


1 In  the  South  Gallery,  or  Print  Room,  the  names  are  those  of  the  Signers  of  the  Declaration  of  In- 
dependence. In  the  Southeast  Gallery,  those  of  Inventors : Gutenberg,  Daguerre,  Schwartz,  Mont- 
golfier, Watt,  Cooper,  Stevens,  Newcomen,  Trevithick,  Hargreaves,  Corliss,  Arkwright,  Jacquard,  Fitch, 
Fuller,  Wood,  Wheatstone,  Whitney,  Morse,  Vail,  Goodyear,  Ericsson,  Hoe,  McCormick,  Howe,  Bes- 
semer, Westinghouse,  Edison,  and  Bell. 

Architects  and  Engineers  are  commemorated  in  the  Northeast  Gallery;  Ictinus,  Vitruvius,  An- 
themius, Palladio,  Vignola,  Sansovino,  Bramante,  Brunelleschi,  Michael  Angelo,  Lescot,  Due,  Delorme- 
Labrust,  Mansard,  Bulfinch,  Wren,  Jones,  Walter,  Richardson,  Hunt,  Archimedes,  Stephenson,  Smea- 
ton,  Vauban,  Lavally,  Jarvis,  Eads,  Schwedler,  Roebling,  and  Barnard. 

In  the  Map  Room  (North  Gallery)  the  list  is  miscellaneous,  including  Theologians,  Physicians, 
Jurists,  Scientists,  Musicians,  Sculptors, and  Painters:  Lycurgus,  Coke,  Justinian,  Blackstone,  Montes- 
quieu, Marshall,  Story,  Hippocrates,  Avicenna,  Harvey,  Paracelsus,  Jenner,  Hahnemann,  St.  Augustine, 
Bowditch,  Chrysostom,  St.  Bernard,  Bossuet,  Pascal,  Edwards,  Channing,  Euclid,  Pythagoras,  Pliny, 
Copernicus,  Darwin,  Humboldt,  Agassiz,  Faraday,  Mendelssohn,  Mozart,  Haydn,  Bach,  Liszt,  Wagner, 
Phidias,  Apelles,  Da  Vinci,  Giotto,  Perugino,  Raphael,  Titian,  Guido  Reni,  Correggio,  Diirer,  Pallissy, 
Thorwaldsen,  Rembrandt,  Rubens,  Van  Dyck,  Murillo,  Holbein. 

86 


her  words  on  a tablet,  and 
the  other  raising  his  arms 
in  sympathy  as  he  joins 
in  the  rhythmical  swing  of 
her  song.  The  first  may 
be  taken  as  personifying 
the  more  strictly  literary 
and  reflective  side  of  po- 
etry, and  the  other  as 
standing  for  its  feeling  for 
harmony  and  music,  or,  in 
general,  the  lyrical  ele- 
ment in  poetry.  In  the 
left-hand  portion  of  the 
decoration  are  Architec- 
ture and  Music,  and  to  the 
right,  Sculpture  and  Paint- 
ing— all  typified  by  female 
figures  bearing  some  ap- 
propriate object  identify-  H 
ing  the  art  which  they  § 
represent.  Architecture  is  ► 
conceived  as  the  sternest  $ 
and  most  dignified  of  the  *j 
arts,  as  shown  by  her  ex-  w 
pression  of  proud  abstrac-  w 
tion  and  the  severe  lines  of  § 
her  drapery.  She  holds  a o 
miniature  marble  column,  n 
and  her  head  is  crowned  * 
with  a circlet  of  battle- 
ments. Music  is  playing 
upon  a violin,  and  looking 
the  while  upon  the  pages 
of  a great  music-book 
which  a kneeling  genius 
holds  open  before  her. 
Beside  her  is  a violoncello. 
Sculpture  holds  a statuette 
of  a nude  female  figure, 
and  talks  with  Painting, 
who  has  a palette  and 
brushes.  The  latter,  as 
representing  the  gentler 
and  more  luxurious  art, 
is  shown  partly  nude,  and 
leaning  her  head  affection- 
ately upon  the  shoulder  of 
her  companion.  In  the 
corner  of  the  picture  are 


87 


a vase  and  two  large  plates  in  different  styles  of  decorated  pottery  — standing 
for  the  minor  decorative  arts. 

In  the  tympanum  of  The  Sciences  the  central  figure  is  Astronomy.  She 
holds  a pair  of  compasses,  and  leans  forward  on  her  throne  to  make  measure- 
ments upon  the  celestial  globe  which  a genius  holds  up  before  her.  Another 
genius  to  the  right  looks  through  a telescope.  To  the  left  of  the  panel  are 
Physics  and  Mathematics.  Physics  holds  an  instrument  designed  to  show  the 
law  of  the  balance  of  different  weights  at  different  distances  from  the  point  of 
support.  Mathematics  has  an  abacus,  or  counting-frame,  with  which  she  is  in- 
structing a little  genius  in 
the  elements  of  figures. 
The  beads  of  the  abacus 
are  so  placed  that  they 
give  the  date,  “ 1896”  — 
the  year  the  picture  was 
painted.  Beside  her,  in 
the  extreme  left-hand  cor- 
ner, are  various  figures 
illustrating  plane  and  solid 
geometry.  The  former 
kind  are  so  arranged,  as 
the  visitor  will  see  by 
looking  carefully,  that 
they  form  all  the  letters 
of  the  artist’s  name  — 
kenyon  cox.  On  the 
other  side  of  the  throne 
are  Botany,  bearing  a 
young  oak  tree,  and  wear- 
ing a green  and  white  fig- 
ured gown ; and  Zoology, 
a nude  figure  holding  out 
her  hand  to  caress  a mag- 
nificent peacock  perched 
on  the  coping  of  the  bal- 
ustrade. In  the  corner 
are  a shell  and  various 
kinds  of  minerals,  for 
Conchology,  Mineralogy, 
Geology,  and  so  forth. 

On  tablets  over  the  doors  and  windows  are  the  names  of  men  distinguished 
in  Science  and  Art.  Those  representing  Art  are  Wagner,  Mozart,  Homer, 
Milton,  Raphael,  Rubens,  Vitruvius,  Mansard,  Phidias,  and  Michael  Angelo. 
The  Scientists  are  Leibnitz,  Galileo,  Aristotle,  Ptolemy,  Dalton,  Hipparchus, 
Herschel,  Kepler,  La  Marck,  and  Helmholtz. 

THE  PAVILION  OF  THE  DISCOVERERS. 

The  Southwest  Pavilion  — or  the  Pavilion  of  the  Discoverers,  as  it  may  better 
be  called,  from  the  subject  of  the  paintings  with  which  it  is  ornamented  — 

88 


MM  it  i H M M M M M H it  f i H M i i M M « t i M * 


SPRING.  — BY  BELA  L.  PRATT. 


opens  immediately  from  the  Southwest  Gallery.  The  domed  ceiling  is  richly 
coffered  and  profusely  ornamented  with  gilding,  except  for  a large  central  space 
in  the  form  of  a disc,  which  contains  a painted  decoration.  Below  the  dome 
are  four  tympanums,  also  occupied  by  paintings.  The  walls  are  ornamented 
with  paired  pilasters,  bearing  a narrow  frieze  decorated  with  lions’  heads  and 
festoons  of  garlands. 

Mr.  Pratt’s  Bas=Reliefs. — In  the  pendentives  is  a series  of  four 
large  circular  plaques  in  relief,  representing  The  Seasons.  The  series,  which 
is  repeated  in  each  of  the  other  three  pavilions,  is  the  work  of  Mr.  Bela  L. 
Pratt.  Spring  is  the  figure  of  a girl  sowing  the  seed,  her  garment  blown  into 
graceful  swirls  by  the  early  winds  of  March.  Summer  is  a maturer  figure,  sit- 
ting, quiet  and  thoughtful,  in  a field  of  poppies.  Autumn  is  a mother  nursing 
a baby.  An  older  child  — a little  boy  — stands  beside  her,  and  the  abundance 
and  fruitfulness  of  the  season  are  still  further  typified  in  the  ripe  bunches  of 
grapes  which  hang  from  the  vine.  Winter  is  an  old  woman  gathering  faggots 


CENTRAL  GROUP  OF  DISCOVERY.  — GEORGE  W.  MAYNARD. 


for  the  hearth.  Behind  her  is  a leafless  tree,  on  which  is  perched  an  owl.  A 
garland  appropriate  to  the  season  hangs  over  each  of  the  four  plaques  — 
fruits  for  Spring  and  Summer , grains  for  Autumn , and  oak  leaves  and  acorns 
for  Winter. 

Mr.  Maynard’s  Paintings.  — The  paintings  in  the  tympanums  and  the 
disc  are  the  work  of  Mr.  George  W.  Maynard,  whose  panels  in  the  Main 
Entrance  Hall  have  already  been  described.  In  the  tympanums  the  sequence 
of  Mr.  Maynard’s  subjects  begins  on  the  east  side  and  continues  to  the  right, 
as  follows  : Adventure , Discovery , Conquest , Civilization  — the  bold  roving 
spirit  of  Adventure  leading  to  Discovery , which  in  turn  results  in  Conquest , 
bringing  at  last  a settled  occupation  of  the  land  and  final  Civilizatio/i.  In  the 
disc  of  the  ceiling,  Mr.  Maynard  has  depicted  the  four  qualities  most  appro- 
priate to  these  four  stages  of  a country’s  development  — Courage,  Valor,  Forti- 
tude, and  Achievement. 

Since  the  tympanums  are  the  same  in  shape  and  of  the  same  size,  measur- 
ing each  thirty-one  feet  by  six,  and  since  all  stand  in  the  same  relation  toward 

39 


the  whole  room,  Mr.  Maynard  has  followed  throughout  a single  method  of 
arrangement.  Each  tympanum  is  over  three  doors  or  three  windows,  as  the 
case  may  be.  In  accordance,  therefore,  with  this  exactly  balanced  architec- 
tural scheme,  a pyramidal  group  of  three  female  figures — pyramidal  because 
any  other  form  would  have  looked  top-heavy  — is  placed  above  the  central  open- 
ing. Balancing  or,  so  to  say,  subsidiary  figures,  which,  if  only  from  their  posi- 
tion at  the  diminishing  ends  of  the  tympanum,  are  necessarily  of  less  impor- 
tance, are  placed  over  the  doors  or  windows  to  the  side.  Thus  the  decoration 
is  poised  in  complete  accordance  with  the  disposition  of  the  wall  which  it 
crowns.  The  figures  at  the  ends,  it  will  be  noticed,  are  of  two  sorts,  mermaids 
and  emblazoned  shields ; but  since  they  alternate  in  pairs  from  tympanum  to 
tympanum,  the  shields  occurring  in  the  east  and  west  and  the  mermaids  in  the 
north  and  south,  this  variety  serves  very  well  to  accentuate  the  unity  of  the 
composition  of  the  four  paintings.  The  ornament,  also,  is  the  same  in  its 
more  important  features  : the  throne  in  the  centre,  flanked  by  cornucopias ; 
the  arabesque  border  with  its  dolphins,  suggestive  of  seafaring ; and  the  lists  of 
names  of  discoverers  and  colonizers  which  occupy  the  spaces  to  the  right  and 
left  of  the  central  group,  and  serve  to  draw  together  the  whole  composition. 

It  would  be  well  if  the  visitor  were  to  hold  in  mind  these  points,  for  in  the  two 
following  pavilions  on  this  floor,  where  the  conditions  governing  the  painter 
are  exactly  the  same  as  in  the  present  room,  it  will  be  seen  that  the  artists 
employed  have  followed  in  their  work  the  same  orderly  and  logical  plan  of 
arrangement  which  Mr.  Maynard  has  here  adopted. 

In  the  first  tympanum,  Adventure,  seated  on  her  throne,  holds  in  her  right 
hand  a drawn  sword,  in  instant  readiness  for  the  combat ; her  left  hand  rests 
upon  an  upright  caduceus,  the  emblem  of  Mercury,  the  god  of  the  traveller, 
merchant,  and  thief,  and  fit,  therefore,  to  be  the  patron  of  the  restless  adven- 
turers who  sailed  westward  in  the  sixteenth  century,  impelled  as  well  by  a desire 
for  booty  as  for  legitimate  trade.  To  the  right  and  left  are  seated  female 
figures,  representing  respectively  Spanish  and  English  adventure  — the  two 
countries  which  furnished  America  with  the  largest  part  of  its  early  buccaneers 
and  adventurers.  Like  the  central  figure,  the  two  are  clad  in  rich  and  elab- 
orate armor,  accurately  copied,  as  is  that  in  the  other  tympanums,  from 
authentic  sixteenth-century  models.  The  figure  to  the  left,  typifying  England, 
holds  a cutlass  in  her  right  hand,  while  her  left  hand  buries  itself  in  a heap  of 
pieces-of- eight,  the  pirate  and  buccaneering  coin  par  excellence.  The  com- 
panion figure  to  the  right  holds  a battle-axe  in  her  right  hand,  and  in  her  left 
one  of  the  little  figurines,  or  miniature  idols  of  gold,  which  the  Spaniards  in 
Peru  sought  so  eagerly,  and  with  so  much  cruelty,  to  secure  from  the  natives. 
At  either  side  of  the  throne  is  a shield,  on  which  an  old  Norse  Viking  ship, 
propelled  by  oars  and  sail,  is  depicted.  At  either  end  of  the  tympanum  is  a 
shield,  that  to  the  right  bearing  the  arms  of  Spain,  and  that  to  the  left  those 
of  England.  On  the  Spanish  side  of  the  decoration  is  the  following  list  of 
names  of  Spanish  adventurers  : Diaz,  Narvaez,  Coello,  Cabeza,  Verrazano,  Bas- 
tidas.  On  the  other  side  is  the  English  list : Drake,  Cavendish,  Raleigh,  Smith, 
Frobisher,  Gilbert.  Each  group  of  names  is  surmounted  by  the  heraldic  form  of 
the  naval  crown,  ornamented  with  alternate  sterns  and  squaresails  of  ships, 
which  was  given  by  the  Romans  to  a successful  naval  commander,  or  to  the 
sailor  who  first  boarded  an  enemy’s  ship.  In  either  corner  of  the  tympanum 
still  another  emblem  of  sea-power,  the  trident,  is  introduced. 

90 


1 For  a description  of  this  map,  see  Justin  Winsor’s  Narrative  and  Critical  History  of  America , 
Boston,  1886,  Vol.  2,  p.  124  ; or  Harper's  Monthly  for  December.  1882. 

91 


In  the  second  tympanum,  Discovery,  crowned  with  a laurel  wreath  of  gold 
and  wearing  a leather  jerkin,  sits  on  her  throne,  holding  a ship’s  rudder  in  her 
right  hand,  and  with  her  left  upon  a globe  of  the  earth,  which  is  supported 
on  her  knee.  The  rude  map  of  America,  which  appears  on  it,  is  copied  from 
a portion  of  a mappemonde,  or  chart  of  the  world,  which  was  discovered  a few 
years  ago  in  England,  and  which  has  been  ascribed  to  Leonardo  da  Vinci.  It 
dates  from  the  second  decade  of  the  sixteenth  century.1  The  two  seated  figures 


CEILING  DISC. GEORGE  W.  MAYNARD. 

to  the  right  and  left  are  clad  in  armor ; the  first  holds  a sword  and  “ Jacob’s 
staff,”  or  cross  staff,  a device  used  by  the  early  navigators  instead  of  a quad- 
rant or  sextant  to  determine  the  altitude  of  the  sun  and  stars.  The  figure  to 
the  left,  with  paddle  and  chart,  points  towards  the  distance  with  outstretched 
arm,  and  turns  to  her  companions  to  beckon  them  onwards.  The  two  shields 


at  the  foot  of  the  throne  bear  an  astrolabe,  an  obsolete  instrument  used  for  the 
same  purpose  as  the  cross  staff.  At  either  end  of  the  tympanum,  a mermaid,  with 
a seashell  for  cap,  and  with  seaweed  twined  about  her  body,  invites  the  voy- 
agers with  strings  of  pearls  and  coral.  Lists  of  names  occur  at  the  left  and  right, 
surmounted,  as  before,  with  the  naval  crown.  The  first  list  is  : Solis,  Orellana, 
Van  Horn,  Oieda,  Columbus,  Pinzon ; the  second,  Cabot,  Magellan,  Hudson, 
Behring,  Vespucius,  Balboa. 

In  the  third  tympanum,  that  of  Conquest , the  idea  expressed  in  the  central 
group  is  that  of  the  proud  tranquillity  which  follows  triumph  in  battle.  The 
figures  carry  the  insignia  of  victory.  The  one  seated  upon  the  throne  has 
pushed  back  her  casque  and  lets  her  left  hand  hang  idly  over  the  crosspiece  of 
the  sword.  But  there  is  still  danger  of  a renewal  of  the  struggle ; the  right 
hand  rests  clenched  upon  an  arm  of  the  throne,  the  armor  has  not  yet  been 
laid  aside,  and  the  sword  not  yet  sheathed.  The  figures  to  the  left  and  right 
are  in  a like  attitude  of  readiness,  though  they  carry  in  addition  to  their 
swords  the  emblems  of  peace  — the  first,  representing  Southern  Conquests,  a 
sheaf  of  palms ; and  the  second,  representing  Northern  Conquests,  chaplets  of 
oak-leaves,  which  wreathe  her  casque  and  sword.  The  two  shields  bear  a 
heraldic  representation  of  the  Pillars  of  Hercules,  with  the  motto  Ne plus  ultra 
twined  about  them,  and  between  them,  in  the  distance,  the  setting  sun  — per- 
haps an  ironical  allusion  to  the  ancient  idea  which  set  the  limits  of  the  earth  at 
the  Straits  of  Gibraltar,  or  perhaps  simply  an  adaptation  and  extension  of  it  to 
the  new  conditions  of  knowledge.  At  the  ends  of  the  tympanum  the  arms  of 
England  and  Spain  are  again  introduced,  as  significant  of  the  general  division  of 
North  and  South  America  into  English  and  Spanish  territory.  The  names  to  the 
left  are  : Pizarro,  Alvarado,  Almagro,  Hutten,  Frontenac,  De  Soto;  to  the  right, 
Cortes,  Standish,  Winslow,  Phipps,  Velasquez,  De  Leon.  Over  each  group  is  the 
battlemented  mural  crown  given  by  the  Romans  to  the  soldier  who  first  suc- 
ceeded in  planting  a standard  upon  the  wall  of  a besieged  city. 

The  fourth  tympanum,  Civilization , is  the  flowering  of  the  other  three.  The 
armor  has  been  laid  aside,  and  the  three  figures  in  the  centre  are  clad  simply 
in  classic  garments.  Civilization,  crowned  with  laurel  and  seated  on  her 
throne,  holds  up  the  torch  of  learning,  or  enlightenment,  and  displays  the 
opened  page  of  a book  — an  idea  which  is  repeated  in  the  lamp  and  book 
which  compose  the  device  on  the  two  shields  below.  To  the  left  is  Agricul- 
ture, crowned  with  wheat,  and  holding  a scythe  and  a sheaf  of  wheat.  To  the 
right  is  Manufactut'es  with  distaff  and  spindle,  twisting  the  thread.  The  mer- 
maids at  the  ends  of  the  decoration  hold  up,  one  an  ear  of  corn,  and  the  other 
a branch  of  the  cotton-plant  bearing  both  the  flower  and  the  boll  — the  two 
chief  products  respectively  of  the  northern  and  the  southern  portions  of  our 
country.  The  names  are  : to  the  left,  Eliot,  Calvert,  Marquette,  Joliet,  Ogel- 
thorpe,  Las  Casas;  and  to  the  right,  Penn,  Winthrop,  Motolinia,  Yeardley,  La 
Salle.  Over  each  list  is  a wreath  of  laurel. 

Mr.  Maynard  has  represented  in  the  ceiling  the  four  qualities  most,  pertinent 
to  the  character  of  his  four  tympanums.  All  four  are  shown  as  female  figures, 
displayed  against  a background  of  arabesque.  The  first,  Courage  — a brute, 
animal  courage  — is  clad  in  a coat  of  coarse  scale-armor,  over  which  a lion’s 
skin  is  drawn,  the  head  of  the  beast  serving  her  for  a cap.  She  is  armed  with 
a war-club  and  a shield.  The  next,  Valor,  is  a nobler  figure,  more  beautiful 
and  wearing  more  beautiful  armor.  Her  right  hand  holds  a sword,  and  her 

92 


left  is  pressed  to  her  breast.  The  third,  Fortitude,  is  unarmed.  In  her  left 
arm  she  carries  an  architectural  column,  the  emblem  of  stability.  Achieve- 
ment, the  last,  is  clad  in  armor,  but  is  without  offensive  weapon.  She  wears  a 
laurel  crown,  and  in  her  left  hand  she  carries  the  Roman  standard,  surmounted 
by  its  eagle  and  laurel  wreath,  the  symbol  of  a strong  and  just  government. 
In  the  order  named,  therefore,  it  will  readily  be  seen  how  these  figures  may  be 
said  to  typify  the  successive  tympanums  of  Adventure , Discovery , Conquest , 
and  Civilization. 

THE  PAVILION  OF  THE  ELEMENTS. 

In  the  same  way  that  the  room  decorated  by  Mr.  Maynard  has  been  called 
the  Pavilion  of  the  Discoverers,  so  the  Southeast  Pavilion  may  be  called  the 
Pavilion  of  the  Elements,  from  the  subject  of  the  paintings  ornamenting  the 
tympanums  and  the  disc.  The  tympanums  are  by  Mr.  Robert  L.  Dodge,  and 
the  disc  by  Mr.  Garnsey  and  Mr.  Dodge  working  in  conjunction,  the  former 
making  the  ornamental  design  and  the  latter  designing  and  carrying  out  the 
figure-work. 

Mr.  R.  L.  Dodge’s  Paintings.  — Each  of  the  four  tympanums  is  devoted 
to  a single  Element : the  east  tympanum  to  Earth , the  north  to  Air , the  west 
to  Fire , and  the  south  to  Water.  The  composition,  which  is  very  simple,  is 
uniform  throughout.  In  the  middle  of  the  tympanum  is  a group  of  three  fig- 
ures typifying  the  subject  of  the  decoration  — the  central  figure  standing  and 
the  other  two  seated.  The  latter  are  of  women,  but  to  prevent  monotony,  the 
standing  figures  are  alternately  male  and  female  — male  in  the  tympanums  of 
Earth  and  Fire,  and  female  in  those  of  Air  and  Water.  The  central  figure 
holds  up  in  either  hand  an  end  of  a heavy  garland  of  flowers,  which,  stretching 
in  a single  festoon  to  the  extremity  of  the  tympanum,  is  there  caught  up  by  a 
little  boy  or  genius.  In  the  middle  of  each  half  of  the  picture,  and  in  each 
tympanum  the  same  on  both  sides,  is  an  ornamental  bronze  column  flanked 
on  either  hand  by  a bronze  standard  or  tripod,  all  three  united  by  floating 
streamers  or  ribands  into  a single  group,  and  each  serving  as  a pedestal  on 
which  to  place  some  emblems  of  the  Element  represented. 

In  the  tympanum  of  Earth  the  idea  is  the  fertility  and  bounteousness  of  the 
soil.  In  the  central  group  the  figure  to  the  right  leans  her  arm  upon  an  am- 
phora or  ancient  wine-jar,  and  holds  in  her  hand  a rose.  The  figure  to  the  left 
is  that  of  a reaper,  with  a wreath  of  grains  on  her  head  and  a bundle  of  wheat 
by  her  side,  and  holding  in  her  hand  a sickle.  The  geniuses  at  the  ends  of 
the  decoration  are  dancing  for  jollity.  The  background  is  a smiling  and  luxu- 
riant summer  landscape,  the  fruits  of  which,  the  peach,  the  plum,  the  pear,  the 
grape  and  the  rest,  are  displayed  in  the  great  garlands  which  the  central  figure 
holds  up  with  outstretched  arms.  The  bronze  columns  support  baskets  of  fruit, 
and  on  the  accompanying  standards  are  perched  magnificent  peacocks.  The 
border  of  the  decoration  includes  masks,  urns  and  lions,  the  last  emblematic  of 
the  subject  of  the  decoration. 

The  central  figure  in  the  decoration  typifying  Air  stands  upon  a bank  of 
clouds ; she  is  winged,  and  a large  star  blazes  on  her  forehead.  Of  the  figures 
to  her  right  and  left,  the  first  is  winged  and  the  second  carries  the  caduceus. 
The  festoons  are  of  morning  glories,  upheld  at  the  further  ends  by  flying  gen- 
iuses. The  background  is  sky  and  clouds.  The  central  standards  carry  as- 

93 


trolabes,  as  being  the  typical  astronomical  instrument  of  a few  centuries  ago, 
and  eagles  are  perched  on  those  to  the  side.  In  the  border,  winged  griffins 
are  substituted  for  lions. 

The  background  of  the  third  tympanum,  Fire , is  a mountainous  and  volcanic 
region,  its  peaks  touched  with  lurid  light  from  constant  eruptions.  The  fes- 
toons are  composed  of  sunflowers,  and  the  seated  figures  in  the  centre  carry 
each  a flaming  torch.  The  columns  to  the  right  and  left  bear  flaming  globes, 
while  the  flanking  standards  support  the  fiery  nest  of  the  phoenix  — the  bird 
which  was  fabled  by  the  ancients  to  live,  sole  of  its  species,  five  hundred  years, 
at  the  end  of  which  time  it  repaired  to  the  desert  and  built  a funeral  pyre,  in 
the  flames  of  which  it  was  consumed.  From  its  ashes  as  a nest  a new  phoenix 
arose,  as  here  depicted.  In  the  border  of  the  decoration  are  salamanders, 
which,  according  to  the  old  superstition,  lived  in  the  midst  of  fire. 

In  the  last  tympanum,  Water , the  central  figure,  clad  in  green,  holds  festoons 
of  seaweed  and  water-lilies  — flowers,  buds  and  pads.  On  either  side  is  a mer- 
maid, one  of  them  with  a seashell.  The  background  is  the  open  sea.  The 
standards  are  in  the  form  of  rostral  columns  (such  as  the  Romans  erected  in 
honor  of  their  victorious  admirals)  ornamented  with  garlands  of  laurel  and  the 
beaks  and  sterns  of  captured  ships.  On  top  is  set  a galley,  with  oars  and  sails. 
Over  each  of  the  standards  to  the  side  hovers  a sea  gull.  The  geniuses  at  the 
end  of  the  picture  have  tails  like  mermaids,  and  in  the  border  are  dolphins. 

The  disc  of  the  ceiling  repeats  in  another  form  the  general  idea  of  the  dec- 
orations of  the  tympanums.  In  the  centre  is  the  sun,  across  which  the  sun-god, 
Apollo,  drives  his  four-horse  chariot.  The  sun,  however,  is  still  the  sun,  and 
not  a yellow  background ; the  dusky  picture  outlined  against  it  is  to  be  taken 
as  a vision,  so  to  say,  of  its  attributes. 

Around  the  sun  as  a centre,  is  painted  a chain  of  alternate  medallions  and 
cartouches  — four  of  each,  or  eight  in  all  — which  typify  the  Four  Elements 
represented  in  the  tympanums  below.  A medallion  and  a cartouche  are  devoted 
to  each.  The  former  sort  are  painted  so  as  to  suggest  a cameo  design.  The 
first  of  them,  which  occurs,  like  the  other  three,  on  the  side  nearest  the  tympanum 
of  the  corresponding  subject,  typifies  Earth , a female  figure  reclined  amidst  a 
summer  landscape.  In  her  hand  is  a scythe,  and  behind  her  is  a plow,  standing 
in  the  midst  of  a wheat  field.  Water  is  a mermaid  riding  off  a rocky  shore  on 
the  back  of  a dolphin.  In  her  hand  she  holds  an  oar.  Fire  is  a woman 
watching  the  smoke  which  floats  away  from  the  flame  of  a little  brazier  at  her 
side.  Behind  her  is  a tripod  on  which  incense  is  burning.  In  the  distance  is 
Mt.  Vesuvius,  sending  out  a steady  cloud  of  smoke,  and  in  the  plain  beneath 
are  the  ruins  of  Pompeii.  Air  is  a female  figure  clad  in  flowing  drapery,  and 
floating  among  the  clouds  on  the  outstretched  wings  of  an  eagle. 

The  cartouches  are  more  simply  designed.  That  of  Earth  contains  a tor- 
toise, on  the  back  of  which,  according  to  the  Hindoo  mythology,  the  earth  is 
ultimately  supported.  Air  is  typified  by  a swan ; Fire , by  a lamp  ; and  Water 
by  two  intertwined  dolphins.  Finally  the  whole  decoration  is  surrounded  by  a 
broad  band  of  arabesque  ornament,  in  which  are  placed  the  signs  of  the  Zodiac. 

THE  PAVILION  OF  THE  SEALS. 

The  third  of  the  second-story  pavilions  is  the  Pavilion  of  the  Seals,  at  the 
northeast  corner  of  the  building.  The  walls  in  this  room,  it  may  be  noted,  are 


94 


STATE  AND  TREASURY.  — BY  W.  B.  VAN  INGEN 


treated  differently  from  those  of  the  other  three  pavilions.  Instead  of  the 
frieze  and  the  paired  pilasters,  one  has  wall-surfaces  covered  with  gilding  and 
ornamented  with  painted  laurel-bands  arranged  in  regular  patterns  recalling  the 
designs  of  the  parterres  of  an  old-fashioned  garden. 

The  paintings  in  the  tympanums  are  by  Mr.  W.  B.  Van  Ingen,  and  illustrate 
the  seals  of  the  various  Executive  Departments  of  the  United  States  Government. 
The  disc  of  the  domed  ceiling  was  designed  by  Mr.  Garnsey,  and  shows  the  Great 
Seal  of  the  United  States  surrounded  by  allegorical  emblems. 

Mr.  Van  Ingen’s  Paintings.  — As  in  the  previous  pavilions  on  this  floor, 
the  general  arrangement  of  the  decoration  is  the  same  in  all  four  tympanums. 
In  each  the  artist  has  introduced  a low  terrace  or  wall  of  masonry  running  from 
end  to  end,  thus  serving  both  to  ballast  the  picture,  as  it  were,  and  to  bind  its 
parts  more  strongly  together.  A recess  in  the  centre  of  the  terrace  allows  space 
for  a circular,  tablet,  painted  to  represent  wood,  about  six  feet  in  diameter,  or 
nearly  the  height  of  the  tympanum.  On  this  are  inscribed,  as  if  in  raised  letters, 
one  or  more  quotations  from  the  writings  or  speeches  of  great  American  states- 
men. These  were  selected  by  the  Librarian,  Mr.  Spofford,  mainly  for  their 
general  patriotic  application,  but,  of  course,  as  far  as  possible  with  some  special 
reference  to  the  subject  of  the  decoration.  The  border  of  each  tablet,  as  of  the 
decoration  itself,  is  a band  of  laurel-leaves,  suggested  by  the  laurel-roll  which 
outlines  the  disc  of  the  ceiling. 

On  either  side  of  the  tablet  is  a female  figure,  seated  against  the  terrace, 
personifying  a Department  of  the  Government,  in  token  of  which  she  supports 
a shield  or  cartouche  on  which  the  seal  of  that  Department  is  conspicuously 
displayed.  The  visitor  will  notice  that  these  figures  (in  this  respect  like  Mr. 
Reid’s  in  the  Entrance  Hall)  illustrate  the  American  type  of  woman,  and  wear 
modern  gowns  and  not  conventional  Greek  or  Roman  drapery. 

The  two  figures  and  the  tablet  between  form  the  necessary  central  pyramidal 
composition.  For  a limit  and  balance  to  the  decoration  the  artist  has  painted, 
at  either  end,  a cypress-tree  and,  in  all  but  one  of  the  tympanums,  one  or  two 
nude  children  or  geniuses,  usually  engaged  in  some  action  which  shall  be  useful 
in  explaining  the  purport  of  the  picture,  the  meaning  of  which  is  still  further 
brought  out,  in  most  cases,  by  introducing  into  the  background  a well  known 
monument  or  building,  or  some  conventional  object,  suggestive  of  the  functions 
of  the  Department  represented. 

The  west  tympanum  is  devoted  to  the  Department  of  the  Treasury  and  the 
Department  of  State ; the  north  tympanum  to  the  Department  of  Justice  and 
the  Post-Office  Department ; the  east  tympanum  to  the  Departments  of  Agri- 
culture and  the  Interior ; and  the  south  tympanum  to  the  War  and  Navy  Depart- 
ments. 

Half  a tympanum  is  devoted  to  each.  The  Department  of  the  Treasury  — to 
begin  with  the  one  first  named  in  the  above  list  — is  sufficiently  indicated  by 
the  introduction  of  the  Treasury  Building  in  the  background.  Two  children  are 
playing  on  the  parapet,  one  of  them  with  his  foot  on  a strong-box.  The  back- 
ground of  the  other  portion  of  the  tympanum  — illustrating  the  Department  of 
State  — exhibits  the  dome  and  west  front  of  the  Capitol  and,  to  the  right,  the 
Washington  Monument.  The  vital  thing  about  a nation  — that  which  it  is  the 
first  business  of  a Department  of  State  to  help  preserve — is  its  independence. 
The  Monument  may  be  taken,  therefore,  as  standing  for  the  establishment  of  that 
independence,  and  the  Capitol  for  its  maintenance.  A dog,  typical  of  fidelity, 

96 


lies  in  the  foreground.  The  cypress  trees,  it.  may  be  noted  before  passing  to 
the  next  tympanum,  are  introduced  purely  for  their  decorative  effect,  and  are 
without  any  symbolical  meaning.  In  all  the  decorations  they  are  set  in  jars 
copied  from  Zuni  originals  in  the  National  Museum. 

In  the  north  tympanum,  the  figure  of  Justice  is  clad  in  ermine.  On  the  ter- 
race is  a high  bronze  standard,  carrying  a pair  of  evenly  balanced  scales.  The 
genius  at  the  left  holds  a measuring  rod,  for  exact  justice.  In  the  other  half  of 
the  painting,  devoted  to  the  Post-Office  Department,  the  genius  is  represented 
with  a pair  of  compasses  marking  out  mail  routes  on  a globe.  Mercury  was 
the  Messenger  of  the  Gods,  according  to  classic  mythology,  and  a bronze  statue 
of  him  with  his  winged  sandals,  staff,  and  cap,  is  appropriately  set  upon  the 
stone  terrace  to  typify 
the  dispatch  and  ce- 
lerity of  the  Depart- 
ment. 

Agriculture,  in  the 
next  tympanum,  is 
symbolized  solely  in 
the  fertile  and  well 
cultivated  landscape 
which  forms  the  back- 
ground of  her  portion 
of  the  decoration. 

The  chief  duty  of  the 
Department  of  the 
Interior  — to  protect 
and  control  the  In- 
dians — is  indicated 
in  the  background  of 
the  other  half  of  the 
picture  by  a represen- 
tation of  the  curious 
method  of  burial,  if 
one  may  use  the  word, 
which  prevails  among 
certain  of  the  westerr 
tribes  — the  body, 
lashed  to  a few  poles 
for  a bier,  being  laid  away  in  the  branches  of  a tree. 

In  the  last  tympanum,  that  of  War  and  the  Navy,  the  terrace  is  nicked  and 
shattered  by  the  bullets  of  the  enemy.  The  figure  to  the  left,  representing  the 
Department  of  War,  holds  a regulation  army  sword,  and  the  figure  to  the  right 
a naval  sword.  To  the  left  the  two  children  are  engaged  in  combat ; one  is 
falling,  stained  with  blood,  while  the  other  presses  upon  him  with  a falchion,  or 
Roman  sword.  The  corresponding  composition  to  the  right  is  much  the  same  ; 
the  chief  difference  being  the  trident  which  the  victor  aims  at  his  opponent’s 
breast.  War  is  accompanied  by  a Roman  standard  adapted  to  an  American  use 
by  altering  the  old  initials  “ S.  P.  Q.  R.” — “ The  Senate  and  People  of  Rome  ” 
— to  “ U.  S.  A.”  In  the  background  is  Bunker  Hill  Monument  in  Boston.  On 
the  other  side  are  the  masts  of  the  recently  constructed  battleship  Indiana,  and 

97 


CEILING  DISC.  — BY  ELMER  E.  GARNSEY. 


a rostral  column  of  the  same  sort  as  those  used  in  the  tympanum  representing 
Water  in  the  Pavilion  of  the  Elements,  but  in  this  case  copied  exactly  from  the 
one  erected  in  honor  of  Commodore  Decatur  and  afterwards  removed  to  An- 
napolis, where  it  is  now.  The  inscriptions  on  the  tablets  in  the  four  tympanums 
may  most  conveniently  be  inserted  here.  In  the  west  tympanum,  that  of  the 
State  and  Treasury  Departments,  the  quotations  are  as  follows  : — 

’Tis  our  true  policy  to  steer  clear  of  permanent  alliance  with  any 
portion  of  the  foreign  world . — Washington. 

Let  our  object  be  our  country,  our  whole  country,  and  nothing  but 
our  country.  — Webster. 

Thank  God  I also  am  an  American.  — Webster. 

In  the  north  tympanum  : — 

Equal  and  exact  justice  to  all  men,  of  whatever  state  or  persuasion, 
religious  or  political : peace,  commerce  and  honest  friendship  with  all 
nations  — entangling  alliance  with  none.  — Thomas  Jefferson. 

In  the  west  tympanum  : — 

The  agricultural  interest  of  the  country  is  connected  with  every 
other,  and  superior  in  importance  to  them  all.  — Andrew  Jackson. 

Let  us  have  peace.  — U.  S.  Grant. 

In  the  south  tympanum  : — 

The  aggregate  happiness  of  society  is,  or  ought  to  be,  the  end  of  all 
government . — Washington. 

To  be  prepared  for  war  is  one  of  the  most  effective  means  of  preserv- 
ing peace.  — Washington. 

Mr,  Garnsey’s  Ceiling  Painting. — The  disc  of  the  dome  contains  one 
of  the  most  interesting  and  ingeniously  arranged  of  the  purely  conventional 
decorations  which  ornament  the  Library.  In  the  centre  is  the  great  seal  of  the 
United  States,  which  puts  the  final  touch  of  significance  upon  the  series  of 
paintings  in  the  tympanums.  Surrounding  it  is  a circular  band  containing 
forty-eight  stars,  one  for  each  State  and  Territory.  On  the  diagonal  axes  of  the 
room  are  four  medallions  containing  heads  symbolizing  the  Four  Winds — North, 
South,  East  and  West — each  blowing  a gale  from  his  mouth,  as  in  the  classical 
representations.  They  stand,  of  course,  for  the  four  great  natural  divisions  of 
the  country.  Below  each  medallion  is  a garland  of  fruits  or  grains,  festooned 
from  bunches  of  eagles’  feathers  which  spring  from  the  central  panel  of  the 
decoration,  and  indicating  the  nature  of  the  products  of  each  section.  The 
garland  under  the  medallion  of  the  North  Wind,  for  example,  is  composed  of 
apples,  pears,  peaches,  and  similar  fruits ; that  under  the  East  Wind,  of  various 
vegetables  and  berries ; under  the  West  Wind,  grains,  as  wheat,  oats,  and 
maize ; and  under  the  South  Wind,  bananas,  pomegranates,  oranges,  lemons, 
and  so  forth. 

Other  emblematic  objects  introduced  into  the  decoration  are  lyres,  each 
flanked  on  either  side  by  a horn  of  plenty  filled  with  fruits  ; and  flaming  torches, 
set  between  a pair  of  dolphins.  There  are  thus  two  sorts  of  groups,  each  of 
which  occurs  four  times  in  the  decoration  in  accordance  with  the  standard  fixed 

98 


by  the  four  medallions  of  the  Winds.  The  four  different  objects  depicted 
signify  four  of  the  great  interests  of  the  country — the  lyre,  the  Fine  Arts; 
the  cornucopia,  Agriculture ; the  torch,  Learning  and  Education ; and  the 
dolphin,  Maritime  Commerce.  Finally  the  composition  is  united  by  American 
flags  festooned  from  the  lyres  to  the  garlands  of  fruit  which  underhang  the 
medallions  of  the  Winds.  And  around  the  whole  is  a narrow  border,  on  which 
are  inscribed  the  following  words  from  Lincoln’s  Gettysburg  address,  used  also, 
in  part,  by  Mr.  Vedder  in  his  decorations  in  the  Entrance  Hall : — 

That  this  nation,  under  God,  shall  have  a new  birth  of  freedom  ; that 
government  of  the  people,  by  the  people,  for  the  people,  shall  not  per- 
ish from  the  earth. 

THE  PAVILION  OF  ART  AND  SCIENCE. 

The  entablature  and  paired  pilasters  which  decorate  the  walls  of  the  two 
pavilions  to  the  south,  are  resumed  in  the  Northwest  Pavilion,  or  Pavilion  of 
Art  and  Science,  if  one  choose  to  name  it,  as  the  three  corresponding  rooms  on 
this  floor  were  named,  from  the  subject  of  the  paintings  which  it  contains. 

Mr.  W.  de  L.  Dodge’s  Paintings. — These  paintings,  both  in  the  tym- 
panums and  in  the  ceiling  disc,  are  the  work  of  Mr.  William  de  Leftwich 
Dodge.  The  subjects  are  as  follows  : in  the  west  tympanum,  Literature  ; north 
tympanum,  Music ; east  tympanum,  Science ; south  tympanum,  Art;  and  in  the 
ceiling  disc,  Ambition , considered  as  the  incentive  of  all  human  effort,  whether  in 
art,  science,  or  affairs.  Comparing  them  with  the  other  decorations  in  the 
Library,  the  visitor  will  be  struck  with  the  unusually  large  number  of  figures 
which  Mr.  Dodge  has  introduced  into  his  canvases,  all,  of  course,  helping  to 
illustrate  some  phase  of  the  subject  under  which  they  are  grouped.  Through- 
out, however,  the  meaning  is  unusually  clear,  the  special  significance  of  every 
figure  being  indicated  either  by  some  expressive  attitude  or  action,  or  by  the 
introduction  of  some  appropriate  and  typical  object. 

Literature  shows  a varied  group  of  male  and  female  figures  sitting  or  standing. 
The  scene  is  along  the  steps  of  an  old  Greek  temple.  The  God  of  Letters  — 
or  Apollo,  if  one  wishes  — sits  in  the  foreground  holding  an  open  book.  Be- 
hind him  is  a company  of  maidens  reading  in  an  ancient  scroll,  which  they  un- 
roll from  hand  to  hand.  To  the  right,  a woman  is  instructing  two  children  in 
the  rudiments  of  learning.  Comedy,  a nude  and  easy  figure,  is  looking  at  the 
ludicrous  features  of  a comic  mask,  and  Tragedy  stands  in  an  attitude  of  reci- 
tation, lifting  her  arms  in  an  emphasizing  gesture.  In  the  corner  is  a little  boy 
working  over  an  ancient  hand-press.  To  the  left  a poet  sits  with  his  head 
bowed  in  thought,  perhaps  in  despair  that  his  verses  have  not  received  their 
due  meed  of  applause  ; but  Fame  stands  behind  him  holding  out  the  wreath  of 
laurel  with  which,  after  many  years,  she  means  to  crown  him.  Further  on  is 
another  poet,  who,  as  he  reclines  half  dreaming  on  the  ground,  is  suddenly  in- 
spired with  the  rapture  of  the  Muse.  In  the  corner  is  a bust  of  Homer,  with  a 
pile  of  books  for  pedestal. 

In  Music , Apollo,  as  the  God  of  Song  and  Harmony,  is  seated  in  the  centre 
of  a long  marble  bench  playing  upon  a lyre.  Other  figures,  variously  disposed 
throughout  the  panel,  play  upon  a number  of  different  musical  instruments, 
illustrating  at  once  the  development  and  present  scope  of  the  art.  One  plays 

99 


a violin,  two  others  are  blowing  trumpets,  a fourth  has  the  double  pipes,  another 
a mandolin  — and  so  on. 

The  central  figure  of  Science — the  background  of  which  is  again  the  columns 
and  marble  steps  of  a temple — is  a winged  female  figure  descending  through 
the  air  to  crown  the  inventor  of  the  phonograph,  who  kneels  on  the  steps  be- 
fore her  with  a simple  electrical  instrument  beside  him.  More  broadly  con- 
sidered, the  group  typifies  the  triumphs  of  modern  electrical  science,  summed 
up  indeed,  in  the  invention  of  the  phonograph,  but  including  as  well  the  electric 
telegraph  and  the  telephone.  To  the  right  is  a man  holding  the  model  of  a pro- 
peller steamship,  and  further  on  a husbandman  with  his  team  of  horses,  gather- 
ing the  fruits  of  Agriculture.  To  the  left  is  a table,  on  which  are  set  two  alem- 
bics for  Physics,  and  around  which  is  gathered  a group  of  scientists,  one  holding 
a human  skull,  which  forms  the  subject  of  their  discussion.  The  group  may  be 
taken  to  represent  the  various  medical  and  surgical  sciences,  such  as  Phy- 
siology, Anatomy,  and  so  forth.  Further  to  the  left  is  a figure  looking  at  a 
kite  lying  on  the  ground  — a reminder  of  Benjamin  Franklin’s  famous  elec- 
trical experiment  with  the  kite  and  the  key.  In  the  background  is  a little 
camp-fire  over  which  a tea-kettle  is  suspended,  for  Watt’s  celebrated  discovery 
of  the  power  of  steam. 

Art  shows  a student  sketching  a nude  model.  Behind  him  is  his  instructor 
criticizing  his  work.  Sculpture  is  symbolized  to  the  left,  and,  to  the  right,  a 
young  woman  is  painting  a design  upon  a great  Greek  vase.  Behind  her  are 
the  capitals  of  a number  of  the  more  familiar  orders  of  Architecture,  as  the 
Egyptian  and  the  Doric. 

In  the  painting  of  Ambition  in  the  ceiling,  the  scene  is  supposed  to  be  the 
top  of  a high  mountain,  but  only  the  marble  terrace  which  marks  the  summit 
is  actually  visible  in  the  painting.  Here  is  gathered  a group  which  has  toiled 
along  a weary  path  up  the  mountain  side  to  comparative  success ; but  none  is 
satisfied.  Above  them,  the  Unattainable  Ideal,  a figure  holding  aloft  in  mock- 
ery the  palm  branch  of  complete  achievement,  rides  through  the  air  on  a great 
winged  horse.  In  front  is  Fame,  grasping  the  horse’s  bridle  with  one  hand, 
and  turning  to  those  below  to  sound  a derisive  note  on  her  trumpet.  The  fig- 
ures on  the  mountain  top  are  involved  in  a scene  of  mad  confusion ; some  for 
the  moment  are  distracted  by  crime  or  lust,  or  cynical  contempt,  but  most 
reach  out  their  arms  in  ineffectual  eagerness  to  attain  the  glorious  vision  above 
them.  They  have  leapt  to  the  top  of  the  terrace  in  their  fierce  desire  to  gain 
the  slightest  advantage.  To  the  left,  a murderer  shrinks  back  in  horror  from 
the  body  of  the  miser  whom  he  has  just  slain ; as  he  starts  away,  aghast  at  his 
crime,  he  topples  over  a flaming  tripod  which  had  been  set  on  a post  of  the 
terrace.  Conspicuous  figures  in  the  mad  struggle  for  success  are  a warrior,  with 
sword,  greaves,  and  helmet,  and  a sculptor,  bearing  a statuette  of  the  Venus  of 
Milo.  In  front  of  them  is  the  seated  figure  of  a poet,  with  a bandage  over  his 
eyes  to  indicate  the  abstraction  and  ideality  of  his  thought.  Further  on,  a 
man  flings  out  both  arms  in  a mad  appeal,  and  on  the  moment  is  grasped  in 
the  arms  of  a woman,  who  drags  him  back  to  the  level  of  her  own  baseness. 
A jester,  one  of  Shakespeare’s  fools,  in  his  cap  and  parti-colored  coat,  stands 
near  by,  holding  a bauble  surmounted  by  a skull  in  one  hand,  and  a statuette 
of  Victory  in  the  other.  That  fame  comes  only  after  death,  and  that  the 
promptings  of  personal  ambition  are  but  a hollow  mockery,  is  the  moral  that 
he  preaches. 


IOO 


NORTHWEST  GALLERY. 


From  Mr.  Dodge’s  Pavilion,  one  goes  into  the  Northwest  Gallery,  which  leads 
directly  into  the  Main  Entrance  Hall  once  more.  In  dimensions,  arrangement, 
and  general  architectural  scheme  it  corresponds  to  the  Southwest  Gallery,  with 
which  the  visitor  began  his  tour  through  the  Rectangle.  The  prevailing  color, 
however,  is  red,  and  not  blue,  both  in  the  walls  and  in  the  coffers  of  the  vaulted 
ceiling. 

Mr.  Melchers’s  Paintings. — At  either  end,  occupying  the  same  position 
as  Mr.  Cox’s  decorations,  and  of  the  same  size  and  shape,  is  a painting  by  Mr. 
Gari  Melchers,  illustrating,  at  the  north,  War , and  at  the  south,  Peace.  The 
same  subjects,  it  is  interesting  to  note,  and  as  many  readers  will  remember, 
were  chosen  by  Mr.  Melchers  for  his  decorations  at  the  World’s  Fair  in  Chicago. 
The  present  paintings  may  be  taken,  therefore,  as  representing  the  development 
and  completion  of  a favorite  idea  of  the  artist. 

In  the  panel  of  War , the  scene  represented  is  that  of  a chieftain  of  some 
primitive  tribe  returning  home  with  his  clansmen  across  a desolate  tract  of 
open  country  from  a successful  battle.  He  is  crowned  with  a wreath  of  laurel, 
and  sits  proudly  astride  a magnificent  white  horse.  A second  horseman  rides 
beside  him,  and  another  a little  behind.  Three  men  carry  a roughly  constructed 
bier  on  which  they  are  bringing  home  the  dead  body  of  a warrior  for  burial  in 
his  native  soil.  In  the  right-hand  corner  a woman  kneels  to  care  for  a wounded 
man  who  has  just  sunk  exhausted  to  the  ground.  Behind,  a trumpeter  sounds 
his  horn,  exulting  in  this  dearly  bought  victory.  To  the  left  two  foot-soldiers 
carry  shields  emblazoned  with  devices  of  primitive  heraldry.  One  of  them 
holds  in  a leash  two  straining  bloodhounds,  eager  for  their  kennels,  and  lead- 
ing the  way  toward  home. 

Mr.  Melchers’s  other  painting,  Peace,  represents  an  early  religious  procession. 
The  inhabitants  of  some  little  village,  perhaps  in  prehistoric  Greece,  have  come 
to  the  border  of  a grove  bearing  the  image  of  their  tutelar  goddess,  a small 
seated  figure  set  on  a little  platform  covered  with  an  embroidered  cloth.  The 
procession  has  halted,  and  the  priest  is  reading  from  a paper  which  he  holds  in 
his  hand,  containing,  very  likely,  a blessing  in  the  name  of  the  goddess  upon 
the  fields  and  orchards  of  the  villagers.  Various  objects,  one  of  them  the 
model  of  a ship,  are  carried  in  the  procession  to  be  offered  up  as  memorials  in 
the  temple  of  the  goddess,  and  in  the  rear  a boy  leads  to  the  sacrifice  a bull 
wreathed  with  garlands. 

The  following  names  — forming  a list  of  the  world’s  most  famous  generals 
and  admirals  — are  inscribed  in  tablets  above  the  doors  and  windows  of  the 
gallery  : Cyrus,  Alexander,  Hannibal,  Caesar,  Charles  Martel,  William  the  Con- 
queror, Frederick  the  Great,  Charlemagne,  Eugene,  Marlborough,  Napoleon, 
Wellington,  Nelson,  Washington,  Jackson,  Scott,  Grant,  Farragut,  Sherman,  and 
Sheridan. 

THE  RECTANGLE:  FIRST  FLOOR  CORRIDORS. 

The  only  rooms  on  the  first  story  of  the  Rectangle  which  require  a special 
description  are  the  galleries  and  pavilions  stretching  from  the  Main  Entrance 
Hall  along  the  west  front  of  the  building.  As  has  been  said  before,  entrance 
to  these  is  through  two  corridors,  leading  to  the  north  and  south.  The  corri- 

IOI 


dors  look  out  upon  the  in- 
terior courts  ; the  floors  are 
of  mosaic,  and  the  walls  are 
painted  in  simple  tones  of 
color  with  pilasters  of  Ver- 
mont marble  polished  to  a 
peculiarly  soft  and  waxy 
surface.  The  ceiling  is  a 
succession  of  small  domes 
in  white  and  gold.  In  the 
centre  of  each  is  a large  gilt 
rosette.  Around  it  are  hex- 
agonal coffers,  or  panels 
ornamented  with  painted 
figures.  The  broad  arches 
between  are  decorated  with 
coffers  and  panels  in  relief, 
and,  finally,  the  tympanums 
beneath  the  domes  (one  at 
either  end  of  the  corridor, 
wj  and  seven  along  the  west 
g wall)  are  occupied  with 
S panels  representing,  in  the 
§ corridor  to  the  south,  which 
2 the  visitor  is  now  supposed 
u to  have  entered,  The  Greek 
g Heroes. 

Mr.  McEwen’s  Paint- 
pj  ings.  — The  series  is  the 
| work  of  Mr.  Walter  McEwen. 
The  special  subjects  are  in- 
cidents, as  related  in  Greek 
mythology,  in  the  lives  of 
the  following  heroes,  taking 
the  paintings  in  order  from 
north  to  south : Paris , 

Jason,  Bellerophon , Or- 
pheus, Perseus,  Prometheus, 
Theseus,  Achilles , and  Her- 
cules. 

Paris,  son  of  Priam,  King 
of  Troy,  was  brought  up  as 
a shepherd  on  Mt.  Ida. 
When  a dispute  arose  among 
the  three  goddesses,  Juno, 
Minerva  and  Venus,  as  to 
who  should  possess  a golden 
apple  inscribed  “ To  the 
Fairest,”  which  Eris  (Strife) 
had  flung  in  the  midst  of  an 


102 


assembly  of  the  deities,  Paris  was  selected  by  Jupiter  to  decide  their  quarrel. 
He  awarded  the  apple  to  Venus,  who  promised  him  the  most  beautiful  woman 
in  the  world  to  be  his  bride.  Hearing  of  the  charms  of  Helen,  wife  of  Menelaus, 
King  of  Sparta,  Paris  sailed  to  Greece,  and  by  the  aid  of  Venus  carried  her 
away  to  Troy  — thus  provoking  the  expedition  of  the  Grecian  chiefs,  and  the 
ten  years’  siege  of  Troy.  Mr.  McEwen’s  painting  shows  Paris  at  the  court  of 
Sparta,  conversing  with  Menelaus,  while  Helen  sits  listening  beside  her  husband. 

Pelias,  King  of  Iolchos  in  Thessaly,  was  warned  by  the  oracle  to  beware  of 
his  nephew  Jason.  He 
therefore  sent  him  in 
search  of  the  Golden 
Fleece.  This  had  be- 
longed to  a ram  which 
had  miraculously  carried 
Phryxus  and  Helle,  a 
brother  and  sister  in  dan- 
ger of  their  lives  through 
the  cruelty  of  a step- 
mother, across  the  sea  to 
Colchis.  Here,  when  the 
ram  died,  Phryxus  hung 
up  its  fleece  in  the  grove 
of  Mars,  where  it  was 
guarded  by  a sleepless 
dragon.  Jason  accepted 
the  quest,  and  is  here 
shown  inviting  the  Gre- 
cian heroes  to  join  in  the 
voyage  which  he  is  to 
make  to  Colchis  in  the 
ship  Argo  — to  enroll 
themselves  in  the  famous 
bandof  the  “Argonauts.” 

The  third  painting 
shows  Bellerophon  re- 
ceiving from  Minerva  a 
golden  bridle  with  which 
he  may  guide  the  winged 
horse,  Pegasus.  The 
hero  had  incurred  the 
dislike  of  his  kinsman, 

Proteus,  King  of  Argos,  who  sent  him  with  a sealed  message  to  Iobates,  King 
of  Lycia.  The  message  desired  Iobates  to  cause  Bellerophon  to  be  slain. 
Being  unwilling  to  do  this  directly,  Iobates  sent  him  to  encounter  the  Chimaera, 
a horrible  monster,  part  lion,  part  goat,  and  part  serpent,  which  was  devas- 
tating his  domains,  and  which  had  overpowered  all  who  had  ventured  to  attack 
it.  By  the  help  of  Minerva  and  the  winged  horse,  Bellerophon  was  successful. 

Orpheus,  who  charmed  with  his  song  the  rocks,  the  trees,  the  wild  beasts, 
and  even  the  infernal  powers,  incurred  the  wrath  of  Bacchus,  whose  divinity  he 
refused  to  worship.  Bacchus  therefore  inflamed  his  priestesses,  the  Moenads, 

103 


CORRIDOR  OF  THE  SPECIAL  READING  ROOMS. 


or  Bacchantes,  against  the  poet,  who  was  slain,  as  here  represented  by  Mr. 
McEwen,  in  one  of  their  orgies. 

Perseus  was  the  son  of  Jupiter  and  Danae.  Danae’s  father  had  heard  that 
his  daughter’s  son  would  be  the  cause  of  his  death.  He  therefore  set  the 
mother  and  child  afloat  in  the  sea  in  a chest,  which  was  safely  cast  upon  the 
island  of  Seriphos,  the  ruler  of  which  was  Polydectes.  By  the  time  Perseus 
had  grown  to  manhood,  Polydectes  had  fallen  madly  in  love  with  Danae,  and, 
fearing  lest  Perseus  should  be  a bar  to  his  passion,  he  ordered  him  to  cut  off 
the  head  of  the  Gorgon  Medusa,  whose  face  turned  to  stone  everyone  who 
looked  upon  it.  Assisted  by  Minerva,  Perseus  succeeded  in  his  adventure. 
Returning  to  Seriphos  he  found  Danae  persecuted  by  Polydectes,  and,  appear- 
ing at  the  palace  of  the  king  while  he  and  his  court  were  sitting  at  dinner,  he  drew 
the  head  of  Medusa  from  his  wallet  and  turned  the  whole  company  into  stone. 


PROMETHEUS  AND  PANDORA.  — BY  WALTER  MCEWEN. 


Prometheus  is  represented  as  warning  his  brother  Epimetheus  not  to  accept 
Pandora  from  the  gods.  Prometheus,  who,  with  his  brother,  was  the  first  of 
mankind,  had  outwitted  Jupiter  in  the  matter  of  offering  sacrifices ; Jupiter, 
in  return,  had  withheld  fire  from  earth.  Prometheus,  however,  secured  it 
by  stealth  from  heaven,  and  Jupiter  in  revenge  formed  Pandora,  the  first  woman, 
and  sent  her  to  become  the  bride  of  Epimetheus.  Epimetheus  disregarded 
his  brother’s  advice  and  took  Pandora  and  with  her  the  fatal  box,  which,  when 
opened,  let  loose  a cloud  of  evils  to  torment,  with  only  delusive  Hope  to  con- 
sole, mankind. 

Theseus  is  directed  by  Minerva  to  leave  Ariadne,  who  sleeps  beside  him, 
and  proceed  to  Athens  alone.  Athens  had  been  compelled  for  years  to 
send  an  annual  tribute  of  youths  and  maidens  to  Minos,  king  of  Crete,  to 
be  devoured  by  the  Minotaur,  a savage  monster,  half  bull,  half  man,  who  was 

104 


confined  in  a Labyrinth.  Theseus  voluntarily  sailed  on  the  tribute-ship,  and 
reaching  Crete  gained  the  love  of  the  daughter  of  Minos,  Ariadne,  by  whose 
aid  he  was  enabled,  after  slaying  the  Minotaur,  to  find  his  way  out  of  the 
Labyrinth.  Returning,  he  bore  Ariadne  away  with  him,  but  deserted  her  at 
the  island  of  Naxos,  as  here  depicted,  at  the  command  of  Minerva.  There 
she  was  found  by  Bacchus,  who  made  her  his  bride. 

Achilles,  disguised  as  a maiden,  and  living  among  the  women  of  the  court 
of  Lycomedes,  king  of  Scyros,  is  discovered  by  Ulysses.  Thetis,  the  mother 
of  Achilles,  had  been  forewarned  that  her  son  would  die  an  early  death,  as  it 
turned  out  afterwards  that  he  did,  being  slain  by  Paris  before  the  walls  of  Troy. 
She  therefore  dipped  him,  while  still  an  infant,  in  the  River  Styx.  He  was 
thus  made  invulnerable  in  every  part  of  his  body  except  his  heel,  by  which  his 
mother  had  held  him,  and  which  therefore  remained  unaffected  by  the  sacred 


PARIS  AND  HELEN.  — BY  WALTER  MCEWEN. 

water.  To  make  assurance  doubly  sure,  Thetis  sent  him  to  Lycomedes  to  be 
reared  as  a maiden,  far  from  the  dangers  of  war.  When  the  Greeks  were  arm- 
ing for  the  siege  of  Troy,  the  oracle  informed  them  that  without  Achilles  the 
city  could  never  be  taken.  The  crafty  Ulysses  was  therefore  sent  in  search  of 
him.  He  arrived  at  the  court  of  Lycomedes  disguised  as  a pedler,  bearing  in 
his  basket  weapons  of  war  and  feminine  trinkets.  Showing  these  among  the 
women,  all  were  eager  to  examine  the  ornaments ; Achilles  clutched  at  the 
sword  and  shield,  thus  discovering  himself  immediately  to  the  keen  eye  of 
Ulysses. 

Hercules  was  sold  as  a slave  by  Mercury  to  Omphale,  Queen  of  Lydia. 
They  became  enamored  of  each  other,  and  Hercules,  to  please  her,  wore  female 
garments,  and  spun  among  the  female  slaves.  The  artist  here  exhibits  him 
aiding  the  queen  in  her  task. 

io5 


THE  HOUSE  READING  ROOM. 


Mr.  McEwen’s  corridor  opens  directly  into  a richly  decorated  gallery,  serving 
as  a special  reading  room  for  members  of  the  House  of  Representatives.  No 
apartment  in  the  Library  is  more  lavishly  and  sumptuously  ornamented.  The 
floor  is  dark  quartered  oak ; the  walls  have  a dado  of  heavy  oak  panelling  about 
eleven  feet  high ; and  the  deep  window-arches  are  finished  entirely  in  the  same 
material.  Above  the  dado  the  walls  are  hung  with  olive  green  silk.  The  ceiling 
is  beamed  and  panelled,  and  is  finished  in  gold  and  colors,  with  painted  dec- 
orations in  the  panels,  and  encrusted  conventional  ornament  in  cream  white 


THE  HOUSE  READING  ROOM. 

along  the  beams.  Over  the  three  doors  are  carved  oak  tympanums,  by  Mr. 
Charles  H.  Niehaus,  comprising  two  different  designs  — the  first  a central 
cartouche  bearing  an  owl,  and  supported  on  either  side  by  the  figure  of  a 
seated  youth  ; the  other,  the  American  eagle  flanked  by  two  cherubs.  At  either 
end  of  the  room  is  a magnificent  mantel  of  Sienna  marble.  Over  the  fireplace 
is  a large  mosaic  panel  by  Mr.  Frederick  Dielman,  representing,  at  one  end  of 
the  room,  Law , and  at  the  other,  History . Above  is  a heavy  cornice,  sup- 
ported on  beautiful  columns  of  Pavannazzo  marble,  the  general  color  of  which 
is  gray  instead  of  yellow,  but  with  a system  of  veining  which  agrees  very  well 
with  that  of  the  Sienna.  In  the  centre  of  the  cornice  is  a small  cartouche,  of 
green  onyx  in  the  mantel  to  the  south,  and  of  labradorite,  or  Labrador  spar, 

106 


in  the  other,  the  latter  stone  being  remarkable  for  its  exquisite  gradations  of 
deep  peacock-blue,  continually  changing  with  the  light  and  the  point  from 
which  it  is  seen. 

Mr.  Dielman’s  Mosaics.  — Mr.  Dielman’s  mosaic  panels  are  of  the  same 
size  and  shape,  each  being  seven  and  a half  feet  wide  and  three  feet  seven  inches 
high.  They  were  executed  in  Venice,  which  for  generations  has  been  cele- 
brated for  the  delicacy,  accurate  coloring,  and  nicety  of  fitting,  of  its  mosaics. 
The  process  and  methods  used  in  this  work  are  much  the  same  as  in  the  ordi- 
nary sorts  of  mosaic  — such  as  would  be  required  for  a ceiling,  for  example  — 
although,  of  course,  the  pieces,  or  tesserce , must  be  fitted  with  much  greater 
care  and  patience,  so  that  every  piece  may  take  its  place  in  a perfect  grada- 
tion of  color.  The  work  of  the  painter  consisted  in  making  full  size  car- 
toons in  the  exact  colors  desired  in  the  mosaic  ; from,  these  the  Italian  work- 
men prepared  the  finished  panels,  and  sent  them  to  this  country  ready  to  be 
put  in  place.  The  cartoons,  however,  were  necessarily  painted  as  much  as 


HISTORY.  — BY  FREDERICK  DIELMAN. 

possible  in  simple  outlines  and  shades  of  color,  for,  although  the  Italian  shops 
are  said  to  have  at  their  command  enamels  of  no  less  than  twenty-five  thousand 
different  tints,  it  would  be  obviously  impossible  with  such  a material  to  repro- 
duce exactly  every  variation  of  tone  and  line  of  which  the  brush  is  capable. 
Certain  refinements  of  technique,  therefore,  and  more  especially  the  vagueness 
of  color  which  is  often  so  desirable  in  the  painted  canvas,  must  be  avoided  in 
a cartoon  made  for  such  a purpose  as  Mr.  Dielman’s. 

The  mosaic  at  the  north  end  of  the  room  represents  Law,  typified  by  a 
young  and  beautiful  woman  seated  on  a massive  marble  throne  and  holding  in 
one  hand  a sword  with  which  to  chastise  the  guilty,  and  in  the  other  a palm 
branch  with  which  to  reward  the  meritorious.  Her  head  is  surrounded  by  a 
glory,  and  she  wears  on  her  breast  the  y£gis  of  Minerva  to  signify  that  she  is 
clad  in  the  armor  of  righteousness  and  wisdom.  On  the  steps  of  her  throne 
are  the  scales  of  Justice  and  the  book  of  Law,  and  a pair  of  white  doves  em- 
blematic of  mercy.  The  visitor  will  notice  that  Mr.  Dielman’s  conception  of 
Law  includes  the  conventional  typification  of  Justice,  but  at  the  same  time  slightly 

107 


differs  from  it.  The  reason  is  that  he  has  wished  to  indicate  not  only  the  judi- 
cial but  the  legislative  side  of  Law ; hence  the  freer  air  of  command,  and,  in 
particular,  the  outdoor  landscape  of  woods  and  hills,  signifying  a less  restricted 
authority  than  that  of  the  courtroom.  Such  a typical  symbol  of  Justice  as 
the  scales  is  less  conspicuously  introduced,  and  the  usual  globe  is  entirely 
omitted. 

To  the  left  of  the  central  throne  are  three  figures  representing,  as  one  may 
see  by  the  names  in  the  streamer  above  them,  respectively  Industry,  Peace,  and 
Truth,  the  friends  and  supporters  of  Law ; while  to  the  left  Mr.  Dielman  intro- 
duces three  other  figures  typifying  Fraud,  Discord  and  Violence,  the  enemies 
of  Law.  Industry  and  Violence  are  represented  as  male  figures ; the  other 
four  as  female.  Very  appropriately,  the  first  group  seems  to  be  advancing 
unafraid  toward  the  throne  of  the  Goddess  ; while  the  figures  to  the  right 
shrink  terrified  from  her  presence.  The  emblems  which  distinguish  the  various 

figures  are  easily  understood : 
Industry  with  a wheel  and  ham- 
mer ; Peace  with  an  olive-branch 
and  crown  of  olive  ; Truth  with 
the  lilies ; Fraud,  represented 
as  a withered  hag ; Discord,  with 
disordered  hair  and  garment, 
and  holding  a pair  of  knotted 
serpents ; and  Violence,  in  a 
steel  cap  with  the  blazing  torch 
lying  on  the  ground  before  him. 

Mr.  Dielman’ s second  panel 
represents  History.  The  titular 
figure,  that  of  a woman  of  great 
charm  and  beauty,  stands  in  the 
centre  holding  a pen  and  a book. 
On  either  side  are  marble  tab- 
lets bearing  the  names  of  great 
historians — Herodotus, Thucyd- 
ides, Polybius,  Livy,  Tacitus, 
Baeda,  Comines,  Hume,  Gib- 
bon, Niebuhr,  Guizot,  Ranke, 
Bancroft,  Motley.  At  the  foot  of  one  tablet  is  a laurel  wreath,  for  peace, 
and  on  the  other  side  an  oak  wreath,  for  war  — the  twin  topics  of  history 
— each  accompanied  by  a palm  branch,  the  general  reward  of  success. 
On  either  side  of  the  panel  extends  a marble  bench  on  which  are  seated 
two  female  figures  representing  Mythology  and  Tradition,  the  predecessors 
of  history.  Mythology,  the  expounder  of  the  ancient  tales  of  the  gods 
and  heroes,  stands  for  theories  of  the  system  of  the  universe,  in  token 
of  which  she  holds  in  her  right  hand  a globe  of  the  earth.  Beside  her  is  a 
sphinx  — the  female  sphinx  of  the  Greeks,  not  the  male  sphinx  of  Egypt  — 
suggesting  the  eternally  insoluble  Riddle  of  the  World.  At  the  other  end  of 
the  panel,  Tradition,  an  aged  granddame,  relates  her  oldwives’  tales  to  the  boy 
who  sits  listening  before  her.  The  figure  represents  the  whole  body  of  mediae- 
val legend  and  folk-tale.  Reminders  of  a past  age  are  brought  out  in  the  distaff 
she  holds  in  her  lap,  the  Romanesque  capital  on  which  the  boy  sits,  the  harp 

108 


he  holds  in  his  hand  — with  its  reference  to  the  wandering  minstrel  of  the 
Middle  Ages  and  his  store  of  tales  — and  in  the  shield,  very  likely  the  text  of 
the  story  which  is  being  told,  which  leans  against  the  tablet. 

In  the  background  of  the  panel,  seeming  to  float  amidst  the  clouds,  are  three 
ancient  buildings,  an  Egyptian  pyramid,  a Greek  temple,  and  a Roman  amphi- 
theatre — signifying  the  three  nations  of  antiquity  in  which  History  was  most 
highly  developed. 

Mr.  Gutherz’s  Paintings. — Along  the  centre  of  the  ceiling  are  seven 
panels  containing  decorations  by  Mr.  Carl  Gutherz,  representing  The  Spectrum 
of  Light . Each  of  the  seven  colors  shown  in  the  spectrum  is  typified  by  a cen- 
tral figure  standing  for  some  phase  of  achievement,  human  or  divine.  Other 
features  of  the  panel  are  two  cherubs  in  each  corner,  representing  arts  or  sci- 
ences, and  a series  of  eight  escutcheons,  one  with  the  title  of  the  decoration, 
and  the  other  containing  the  seals  of  the  various  States,  the  whole  being  com- 
bined in  a single  arabesque  pattern  by  an  elaborate  design  of  scroll  orna- 
mentation. 

The  order  of  the  subjects  begins  in  the  centre  and  goes  first  north  and  then 
south  from  that  point. 

The  color  of  the  centre 
panel  is  Yellow , and  the 
subject  The  Creation  of 
Light.  The  Divine  In- 
telligence, sitting  en- 
throned in  the  midst  of 
Space,  and  enveloped  in 
mist  and  clouds,  utters 
the  words,  “ Let  there  be 
Light.”  The  corner  fig- 
ures represent  Physics, 

Metaphysics,  Psychol- 
ogy, and  Theology. 

The  second  color  is 
Orange , and  the  subject 
The  Light  of  Excellence , 
suggested  to  the  artist  by  Longfellow’s  poem,  Excelsior.  A spirit  stands  midway 
on  a pyramid  of  steps  (signifying  Progress),  which  is  lost  in  the  unknown  dis- 
tance. She  beckons  to  man  to  join  her  on  the  heights  where  she  is  standing, 
and  holds  in  one  hand  the  wreath  which  crowns  every  effort  for  Excellence.  In 
the  corner,  the  cherubs  typify  Architecture  and  Sculpture  ; Transportation  ; the 
Phonograph  and  Telephone ; and  Invention  and  Design. 

The  third  panel  is  Red , representing  The  Light  of  Poetry.  Poetry,  mounted 
upon  Pegasus,  holds  a torch  in  one  hand  and  with  the  other  reaches  toward  that 
light  of  the  ideal  for  which  he  must  always  strive,  but  which  he  can  never  attain. 
In  the  background  half-seen  figures  represent  the  afterglow  of  Tradition  and 
Mythology.  The  corner  groups  stand  for  Tragedy  and  Comedy ; Lyric  Poetry  ; 
Pastoral  Poetry  ; and  Fable. 

Violet , the  fourth  color,  is  symbolized  as  The  Light  of  State.  The  United 
States  being  regarded  as  the  highest  form  of  government  yet  achieved,  its  em- 
blems are  selected  as  the  best  expression  of  the  ideal  State.  This  being  the 
case,  Violet  was  the  color  under  which,  according  to  the  conception  of  the 

109 


artist,  the  United  States  might  best  be  represented,  since  violet  results  from 
the  union  of  the  American  colors,  Red,  White,  and  Blue.  The  figure  is  that  of 
Columbia,  with  a shield  emblazoned  with  the  United  States  flag,  and  carrying 
a staff  surmounted  by  a liberty-cap,  while  the  American  eagle  hovers  above  her 
shoulder.  The  cherubs  in  the  corners  represent  the  Suffrage,  Justice,  Liberty, 
and  Equality. 

The  next  subject  is  Green , or  The  Light  of  Research.  The  central  figure  is 
the  Spirit  of  the  Lens,  which  in  the  telescope  and  the  microscope  reveals  to  the 
scientist  the  secrets  of  the  universe.  She  is  surrounded  by  the  sea,  with  its 
myriad  forms  of  life  furnishing  her  with  the  material  for  her  investigations. 
The  cherubs  in  one  corner  have  a microscope.  In  another,  they  represent 
Chemistry;  in  the  third  Archaeology  (Egyptology  deciphering  the  hierogly- 
phics) ; and  in  the  fourth,  Mineralogy  — all  selected  as  being  especially  con- 
cerned with  original  investigation  and  research. 

Blue  is  The  Light  of  Truth.  The  Spirit  of  Truth  crushes  the  dragon  of  Ig- 
norance and  Falsehood  under  foot,  and  reaches  to  heaven  for  a ray  of  light 
with  which  to  inflict  the  final  wound.  The  blue  of  the  background  is  the  blue 
of  daylight,  — light  from  darkness.  The  cherubs  hold  the  level,  the  plumb,  and 
the  Bible,  each  considered  as  an  agent  in  indicating  the  presence  of  a uni- 
versal law. 

The  last  panel  represents  Indigo  as  The  Light  of  Science.  The  figure  repre- 
sents Astronomy,  who  is  guided  by  the  soul  (figured  as  a butterfly  fluttering 
above  her  head)  to  explore  the  movement  of  the  stars.  The  cherubs  repre- 
sent various  phases  of  astronomical  study.  One  of  the  figures,  for  example, 
explains  the  theory  of  mathematics,  showing  on  the  fingers  of  the  hand  that 
one  is  the  unit  of  everything ; a second  looks  through  a telescope ; and  others 
are  studying  books  and  making  calculations. 

SENATE  READING  ROOM. 

At  the  end  of  the  corridor  leading  to  the  House  Reading  Room,  is  a little 
lobby,  from  which  one  enters  the  Southwest  Pavilion,  or  Senate  Reading  Room, 
reserved  for  the  use  of  members  of  the  Senate.  The  little  lobby  itself  is  one  of 
the  most  beautiful  examples  of  pure  architectural  design  to  be  found  in  the 
Library.  The  walls  are  of  Vermont  marble  — the  same  as  in  the  corridor  — 
panelled  with  Sienna  marble.  The  moulded  ceiling  is  finished  entirely  in  gold, 
with  a central  rosette,  surrounded  by  coffers  and  conventional  Greek  mould- 
ings, one  of  which,  a rather  elaborate  fret,  is  laid  upon  a ground  of  deep  red. 
The  whole  effect  of  the  decoration,  taken  in  connection  with  the  low  light  which 
prevails,  is  remarkably  fine  — a combination  of  great  richness  with  soberness 
and  refinement. 

The  Senate  Reading  Room  is  finished  in  much  the  same  style  as  the  House 
Reading  Room,  but  with  less  elaboration  of  ornament.  On  the  whole,  the  ef- 
fect, though  quieter,  is  perhaps  more  restful  and  satisfying.  A toilet  room, 
leading  from  the  lobby  just  spoken  of,  cuts  off  a portion  of  the  pavilion,  but 
allows  space  above  for  a low  gallery  enclosed  by  a delicately  carved  balustrade 
of  Sienna  marble.  Below,  the  oak  dado  is  ornamented  with  delicate  inlaid 
arabesques  of  white  mahogany.  Above  the  dado  the  walls  are  covered  with 
figured  red  silk.  In  the  southwest  corner  is  a fireplace  of  Sienna  marble, 
with  a sculptured  panel  of  the  same  material  by  Mr.  Herbert  Adams.  The  de- 


I io 


sign  shows  an  eagle  with  arrows  in  his  claws,  and  an  American  shield  supported 
by  flying  cherubs.  The  doorhead  tympanum  is  of  oak,  like  those  in  the  House 
Reading  Room,  and  contains  a carved  panel,  also  by  Mr.  Adams,  with  a heral- 
dic shield  bearing  the  monogram,  “ U.  S.  A.,”  and  supported  by  mermaids. 
The  gold  ceiling  contains  six  square  panels,  each  containing  four  graceful  female 
figures  holding  garlands  in  their  hands  — the  work  of  Mr.  William  A.  Mackay. 

THE  NORTH  CORRIDOR. 

The  corridor  leading  to  the  north  from  the  Main  Entrance  Hall  is,  as  has 
been  said,  similar  in  design  to  that  opening  into  the  Congressional  Reading 
Rooms.  The  design  of  the  floor  and  ornament  upon  the  arches  is  somewhat 
different,  however.  The  tympanums  which  it  contains  are  ornamented  by  a 
series  of  paintings,  by  Mr.  Edward  Simmons,  representing  the  nine  Muses. 

Mr.  Simmons’s  Paintings.  — The  Muses,  according  to  the  Greek  myth- 


MELPOMENE.  — BY  EDWARD  SIMMONS. 

ology,  were  the  goddesses  of  the  various  departments  of  Art,  Poetry,  and 
Science.  Apollo,  the  God  of  Song,  was  their  father,  and  Mnemosyne  (Memory) 
their  mother.  Their  names,  given  in  the  order  in  which  they  occur  in  Mr. 
Simmons’s  series,  beginning  at  the  south  end  of,  the  corridor,  were  as  follows  : 
Melpomene,  Clio,  Thalia,  Enterpe,  Terpsichore,  Erato,  Polyhymnia,  Urania, 
and  Calliope.  Melpomene  was  the  Muse  of  Tragedy ; Clio,  of  History ; Thalia, 
of  Comedy  and  Bucolic  Poetry;  Enterpe,  of  Lyric  Song;  Terpsichon,  of  Danc- 
ing ; Erato,  of  Erotic  Poetry  ; Polyhymnia,  of  Sacred  Song ; Urania,  of  Astron- 
omy ; and  Calliope,  of  Epic  Poetry. 

In  Mr.  Simmons’s  panels,  each  of  the  Muses  is  shown  as  a seated  figure.  On 
either  side  a laurel  wreath  is  displayed,  as  the  general  symbol  of  intellectual 
pursuits,  and  the  background  is  diversified  by  curving  lines  of  smoke  proceed- 
ing from  the  flame  of  a torch  or  a censer  — thus  signifying  the  inspiration  of 
Art  and  Poetry.  In  several  of  the  tympanums  the  Muse  is  accompanied  by 


little  geniuses  who  serve  to  bring  out  the  special  character  of  the  central  figure. 
In  the  panel  devoted  to  Thalia  the  genius  is  a satyr,  with  goat’s  legs,  and  carry- 
ing a pair  of  Pan’s  pipes.  The  Muse  playfully  catches  him  in  a fold  of  her 
garment — the  whole  suggesting  the  rustic  sportiveness  of  the  early  Greek 
Comedy.  Certain  of  the  panels,  also,  contain  various  distinguishing  objects. 
Melpomene,  for  example,  is  accompanied  by  a tragic  mask ; Clio  by  a helmet, 
for  the  warlike  exploits  recorded  by  History ; Thalia,  by  a comic  mask ; Urania 
by  a celestial  globe.  Terpsichore  is  represented  as  if  swaying  to  the  music  of 
the  dance,  and  is  striking  a pair  of  cymbals.  Erato  is  nude,  and  bears  a rose 
— the  flower  of  love  — in  her  hand.  Polyhymnia  holds  an  open  book  in  her 
lap.  One  of  the  genuises  in  the  tympanum  of  Calliope  holds  a scroll,  and  the 
other  some  peacock’s  feathers — the  latter  symbolical,  perhaps,  of  the  dignity 
and  beauty  of  the  Epic. 


SPECIAL  ROOMS. 

Of  the  two  rooms  leading  from  this  corridor  — the  Northwest  Gallery  and 
the  Northwest  Pavilion  — the  first  is  decorated  in  a cheerful  spring-like  green 
ornamented  with  garlands,  and  the  Pavilion  in  a deep  Pompeiian  red  with 
medallions  containing  figures  of  dancing  girls,  by  Mr.  R.  L.  Dodge,  and  con- 
ventional ornaments  adapted  from  Pompeiian  designs.  In  the  six  window 
bays,  also,  is  the  series  of  the  signs  of  the  zodiac,  designed  by  Mr.  Thompson. 

The  various  galleries  and  pavilions  on  this  floor,  excepting,  of  course,  the 
Congressional  Reading  Rooms,  are  designed  to  accommodate  the  clerical  and 
cataloguing  work  of  the  Library  and  the  Copyright  Department,  or  to  furnish 
room  for  special  collections  of  books.  There  is  every  reason  to  hope  that  in 
time  many  valuable  private  libraries  throughout  the  country  will  find  their  per- 
manent home  in  some  one  of  these  apartments,  given  or  bequeathed  by  their 
owners  to  the  Nation,  and  preserved  for  all  time  in  convenient,  well  lighted  and 
fireproof  rooms  as  a memorial  to  the  liberality  of  their  donors.  Already  one 
such  collection  has  been  received,  presented  several  years  ago  to  the  Library 
by  the  late  Dr.  J.  M.  Toner  of  Washington.  It  is  kept  by  itself  in  the  North- 
east Pavilion.  The  most  remarkable  feature  is  its  Washington  letters,  gathered 
either  in  the  original  or  in  copies,  during  a period  of  many  years. 

THE  BASEMENT. 

The  basement  of  the  Library,  which  may  be  reached  through  the  doors  under 
the  staircases  in  the  Main  Entrance  Hall,  is  arranged  in  the  same  way  as  the 
first  and  second  stories,  except  that  the  whole  floor  is  connected  by  a series  of 
corridors  which  extend  entirely  round  the  building. 

The  walls  of  the  West  Pavilion  are  sheathed  in  a dado  of  white  Italian  marble 
about  ten  feet  high,  above  which  is  a vaulted  ceiling  ornamented  with  a bright, 
open  arabesque  in  green,  blue,  and  yellow  on  a cream-colored  ground.  The 
corridors  have  dados  of  American  marbles,  usually  dark  in  color,  as  Lake  Cham- 
plain or  Tennessee.  For  the  walls  and  vaults,  plain  colors  harmonizing  with 
the  marble  and  set  off  with  simple  arabesques  and  borders,  have  been  used. 
The  effect  is  well  worth  the  attention  of  the  visitor  — the  rich  tones  of  the 
marble  and  the  brighter  coloring  of  the  walls  and  vaults  framing  a long  vista 
seen  through  a succession  of  low,  narrow  arches. 


1 12 


IT  is  interesting  to  note  that  the  ground  plan  of  the  new  Library  of  Con- 
gress was  suggested  by  that  of  the  British  Museum.  There,  however,  the 
central  reading  room  was  placed  inside  the  quadrangle  as  an  after- 
thought. Building  on  this,  as  well  as  on  the  architectural  experience  of 
other  libraries,  our  own  Library  has  had  the  advantage  of  organic  growth. 
Every  part  is  related  to  the  whole,  and  practical  and  aesthetic  requirements 
are  logically  and  naturally  fulfilled. 

These  requirements  were  : an  imposing  edifice,  with  plenty  of  well-lighted 
rooms ; facilities  for  the  storing  of  books ; and  ample  space  for  the  reading  and 
general  public.  With  one  exception  the  exterior  of  the  building  indicates  the 
character  and  relative  importance  of  the  interior  divisions.  That  exception  is 
the  book-stacks,  radiating  from  the  sides  of  the  Rotunda  or  central  reading 
room.  But  their  position  is  in  completely  natural  relation  to  the  rest,  and  by 
being  hidden  from  the  outside,  they  could  be  made  just  what  they  pretend  to 
be,  viz.  huge  book-shelves  of  iron,  bricks,  and  marble,  well  lighted  and  venti- 
lated'* Their  construction  is  aesthetically  perfect,  and  yet  without  injury  to  the 
fagades. 

The  latter,  albeit  severe  and  lacking  the  indefinable  artistic  spirit  of  the 
Capitol,  are  grand  and  imposing.  The  ground  floor,  resting  on  a continuous 
plinth,  is  constructed  of  huge  blocks,  quarry  or  rock-faced,  with  bold  joints  and 
square  lights.  The  masonry  of  the  first  story  is  fine  pointed  with  vermicular  or 
coral-like  quoins  at  the  angles  of  the  pavilions.  In  the  second  story,  the  bel 
etage,  the  face  of  the  granite  is  smooth ; the  windows  are  framed  with  pilasters 
and  surmounted  with  pediments ; the  pavilions  are  emphasized  by  porticoes 
resting  on  Corinthian  columns.  The  horizontal  mouldings  are  boldly  accentu- 
ated and  carefully  graduated,  terminating  in  a modillioned  cornice  surmounted 
by  a balustrade.  The  shadow  effects  are  strong  and  tender,  and  the  set-back 
of  each  floor  well  marked. 

While  the  exterior  of  the  building  represents  a single  thought  and  one  en- 
grossing individuality,  the  interior  reveals  a complexity  of  thought  and  a variety 

1 r3 


of  distinct  personal  influences,  due  to  the  parts  played  by  the  sculptors  and 
painters.  Yet  there  is  no  lack  of  homogeneousness.  The  architect  has 
balanced  the  individual  notes  by  the  breadth  and  force  with  which  he  has 
treated  the  purely  decorative  parts  of  his  scheme.  His  effects  are  massed. 
Sumptuous  expanses  of  mosaic,  or  painted  surfaces,  or  stuccoed  vaults,  compel 
our  attention  and  divide  our  interest  with  the  special  objects  of  beauty.  The 
spectator’s  mind  is  not  bewildered  by  a jumble  of  elaboration,  but  passes 
quietly  from  one  impression  to  another.  On  entering  the  Entrance  Hall,  for 
instance,  marble  is  beneath  our  feet  and  on  all  sides  of  us.  The  impression  is 
instantaneous,  irresistible,  and  entirely  undistracted.  In  the  adjoining  halls, 
the  prevailing  theme  is  varied  by  the  colors  of  the  marble  mosaic  vaults,  which 
assert  their  own  beauty  at  the  same  time  that  they  modestly  bring  the  painted 
compositions  of  the  tympanums  into  color- relation  with  the  grey-white  marble 
walls. 

Upstairs,  in  the  corridors  beyond  the  arcades,  the  marble  impression  is  pro- 
longed in  the  mosaic  floors,  delicate  in  their  play  of  color,  and  splendid  in 
their  very  spaciousness.  But  the  main  impression  is  still  that  of  painted  orna- 
ment. In  the  adjacent  galleries  marble  is  continued  in  the  floors,  but  the  chief 
architectural  interest  here  is  in  the  stucco  work.  It  is  true  we  are  attracted  by 
the  painted  lunette  at  the  end,  but  simultaneously  we  feel  how  superbly  framed 
it  is  by  the  vista  of  vaulted  ceiling.  The  importance  of  the  four  pavilions  is 
emphasized  by  painted  compositions,  but  here  again  an  equipoise  of  interest  is 
maintained  by  the  mosaic  floors,  and  the  beautiful  lines  of  the  stucco,  which 
weave  the  octagon  of  walls  into  the  circle  of  the  vault.  Beneath  the  great  cen- 
tral dome  of  the  Rotunda  all  these  forces  are  massed  with  excellent  judgment. 
The  dome  itself  rests  upon  massive  columns  of  Numidian  marble  connected  by 
two  tiers  of  arcades  of  Sienna  marble ; mounts  up  in  successive  gradations  of 
stucco,  from  bold  accentuation  to  tender  elaboration,  till  it  melts  into  the  calm 
of  Mr.  Blashfield’s  painting  and  ends  in  the  dreamy  spirituality  of  his  figure  in 
the  cupola. 

In  the  little  corridors  to  the  north  and  south  of  the  Entrance  Hall  the  archi- 
tect has  epitomized  his  methods.  They  are  miniature  editions  de  h/xe,  in  which 
arch  and  vault,  marble,  stucco,  mosaic,  and  pictures  are  blended  with  the  dain- 
tiness of  an  Elzevir. 


THE  SCULPTURE. 

Including  under  Sculpture  the  plastic,  carved,  and  bronze  work,  it  will  be 
convenient  to  consider  the  sculpture  of  the  Rotunda  by  itself  and  apart  from 
that  of  the  rest  of  the  building,  for  it  consists  mainly  of  statues  linked  together 
by  a common  thread  of  thought,  while  elsewhere  the  motive  is  solely  decorative. 

One  of  the  prominent  features  of  the  Entrance  Hall  is  the  balustrade  of  the 
staircase,  executed  by  Mr.  Martiny.  The  coil  of  babies  and  garlands  is  irre- 
sistibly fascinating.  Bold  in  line  and  generous  in  massing  of  light  and  shade, 
as  befits  the  grandeur  of  the  construction,  the  design  has,  besides,  much 
daintiness  of  detail.  Joined  to  an  exquisite  fancy,  playful  without  grotesque- 
ness, are  a fluency  and  certainty  of  technique  in  the  best  sense  French.  In 
somewhat  the  same  vein  is  Mr.  Adams’s  tympanum  over  the  Senate  Read- 
ing Room  door.  The  main  masses  have  an  exuberance,  boldly  contrasting 
with  the  delicate  details  that  overspread  the  entire  panel.  The  modelling  and 


lines  are  so  excellently  adjusted  that  the  animation  of  the  laughing  faces  seems 
to  circulate  to  the  very  tips  of  the  tails.  In  Mr.  Perry’s  Sibyls  the  balance  between 
the  filled  and  empty  spaces  and  the  simple  force  of  the  beautiful  lines  and  masses 
are  admirable.  The  thought  embodied  is  equally  admirable.  The  sculptor  has 
chosen  the  four  races  to  which  we  immediately  owe  our  modern  civilization,  and 
pictured  each  Sibyl  as  the  personification  of  the  special  quality  or  genius  of  that 
race  : Religion,  Beauty,  Order,  Progress.  Conspicuous  in  the  four  pavilions  are 
Mr.  Pratt’s  Seasons.  The  composition  of  each  is  simple  and  united,  while  the 
circle  is  well  filled  with  an  embroidery  of  light  and  shade.  In  Winter , for  ex- 
ample, the  design  converges  towards  the  patiently  folded  hands ; in  Autumn  it 
revolves  around  the  infant ; we  note  the  circling  solicitude  of  the  mother, 
centering  on  the  baby  at  her  breast. 

In  the  Rotunda,  the  statues  embody  the  basic  elements  of  civilization,  and 
some  of  its  noblest  exponents ; a theme  beautifully  appropriate  to  the  soaring 
edifice.  Primarily,  however,  the  statues  have  an  architectural  purpose ; the 
larger  ones  to  prolong  the  lines  of  the  columns  and  emphasize  the  spring  of 
the  arches,  the  smaller  to  break  the  level  of  the  balustrade  with  a series  of  up- 
ward accents.  The  sculptors  have  not  been  as  one  in  interpreting  this  obliga- 
tion, for  their  work  varies  from  monumental  simplicity  to  extreme  characteriza- 
tion. Mr.  Pratt’s  Philosophy  is  grandly  simple  and  reposeful.  A little  intric- 
acy of  drapery  upon  the  bosom  serves  to  isolate  the  bowed  head  and  give  more 
severity  to  the  unbroken  folds  below.  By  a calm  immobility,  also,  Mr.  Bissell, 
Mr.  Boyle,  and  Mr.  Dallin  have  secured  impressiveness  in  their  statues  of  Kent , 
of  Bacon , and  of  Newton.  Much  the  same,  too,  may  be  said  of  Mr.  St. 
Gaudens’s  Aid. 

In  Mr.  Donoghue’s  Science  the  repose  is  re-inforced  with  movement.  The 
strong  masses  of  drapery  on  one  side  contrast  with  the  supple  line  along  the 
right  of  the  figure,  and  with  the  placidly  extended  hands.  The  hands  conform 
to  the  spread  of  the  arches,  while  the  whole  figure  prolongs  the  columns.  Sym- 
bolically, it  suggests  the  combined  restlessness  and  contemplation  of  Science. 

In  this  brief  analysis  we  must  include  in  one  group  Mr.  Niehaus’s  Moses  and 
Gibbon , Mr.  French’s  Herodotus , and  Mr.  Potter’s  Fulton.  All  of  them  are 
rich  in  characterization,  extremely  picturesque,  and  yet  sober  and  controlled  in 
contour.  We  shall  find  examples  of  exquisite  technique  in  modelling  in  Mr. 
French’s  History , Mr.  St.  Gaudens’s  Homer , and  Mr.  Macmonnies’s  Shake- 
speare. In  Mr.  Ruckstuhl’s  Solon  and  Mr.  Bauer’s  Religion  and  Beethoven 
characterization  seems  the  foremost  thought. 

Mr.  Macmonnies’s  door  is  very  noble,  with  increased  richness  and  emphasis 
in  the  lunette.  In  thus  giving  a sense  of  greater  elevation  and  dignity  by  lift- 
ing the  eye  upwards,  it  is  interesting  to  note  how  he  has  adopted  a form  of 
composition  similar  to  that  introduced  by  Mr.  Vedder  for  the  same  purpose 
over  the  entrance  to  the  Rotunda.  The  main  composition  is  a square,  mod- 
elled in  such  bold  relief  that  the  attention  is  immediately  arrested  and  directed 
upwards.  Yet  there  is  no  sense  of  emptiness  in  the  accessory  portions  of  the 
lunette,  which  are  richly  encrusted  with  ornament.  To  assist  this  elevation  the 
figures  in  the  panels  are  in  low  relief,  broadly  and  simply  treated.  But  the 
comparatively  emphatic  folds  of  the  drapery  on  each  side  strengthen  the  figures, 
while  the  torches  seem  as  a bold  frame  to  the  design,  with  pronounced  accent 
at  the  four  corners. 


Somewhat  similar  must  have  been  the  motive  of  Mr.  Warner.  He  has  made 
the  interest  of  his  doors  ascend,  but  on  reaching  the  top  has  spread  it  through- 
out the  lunette.  In  the  latter  the  balance  of  raised  and  hollow  parts,  and  the 
mingled  repetition  and  contrast  in  the  direction  of  his  lines  are  admirable. 

THE  PAINTING. 

The  general  painted  decoration,  as  carried  out  for  the  architect  by  Mr.  Garn- 
sey,  is  always  loyal  to  the  architecture,  and  yet  asserts  the  essential  and  pecu- 
liar value  of  color.  First  and  foremost  the  constructional  value  of  color  is  fully 
realized.  In  the  central  Reading  Room,  for  instance,  not  only  have  the  white 
walls  and  stucco  been  brought  into  color  harmony  with  the  rich  red  and  yellow 
of  the  Numidian  and  Sienna  marbles,  but  the  tints  have  been  so  distributed 
and  their  strength  graduated  in  relation  to  the  spaces  they  cover,  that  a strictly 
structural  fabric  of  color  has  been  constructed  in  and  around  the  architectural 
edifice.  The  grand  suite  of  rooms  running  round  the  entire  second  story  is  a 
charming  example  of  color  sequence.  The  keynote  is  yellow,  the  most  joyous 
of  all  colors  — the  hue  of  sunshine.  The  note  is  struck  positively  in  the  four 
pavilions,  where  the  yellow  has  been  carried  as  far  as  possible  in  the  two  direc- 
tions of  red  or  blue.  These  positive  colors  are  connected  by  the  tertiary  tints 
in  the  intervening  rooms,  where  the  walls  are  dull  yellow  or  olive,  relieved  by 
red  and  green  in  the  frieze.  In  the  room  on  the  north  side  the  painter  has 
suffused  the  olive-green  with  a neutralized  bloom  of  the  complementary  violet, 
thus  securing  a harmony  of  opposition  as  well  as  of  similarity.  In  the  central 
room  on  the  east  side,  the  scheme  for  a brief  space  swings  to  blue,  with  yellow 
in  the  frieze,  and  the  more  important  rooms  on  the  west  side  echo  some  of  the 
brilliancy  of  the  adjacent  stair-hall.  To  name  but  one  other  phase  of  this  work 
in  which  the  decorator  has  worked  so  well  for  the  architect,  the  emotional  value 
of  color  or  its  quality  of  expression  is  exhibited  in  numerous  instances.  Above 
the  high  oak  wainscot  of  the  Librarian’s  Room,  the  panels  are  a deep  blue, 
enamelled  with  subdued  arabesques.  Age  seems  to  have  dimmed  them.  There 
is  a patina  of  green  rust  upon  the  ivory  ceiling,  the  tender  touch  of  time  upon 
the  owls  and  lamps,  that  hints  at  the  antiquity  of  thought.  Compare  with  this 
the  robustness  of  the  design  of  the  ceiling  in  the  Pavilion  of  the  Seals.  The 
first  impression  is  of  a turbulence  of  gorgeous  clouds  veiled  in  a golden  haze. 
Gradually  the  details  of  form  and  color  grow,  and  we  discover  an  elaborate 
harmony  in  which  the  great  Seal  of  the  United  States  and  the  American  flag, 
are  predominating  features. 

Of  the  special  paintings  which  complete  and  accentuate  this  great  general 
scheme  of  architecture,  Mr.  Blashfield’s  occupy  the  most  important  position.1 
The  problem  was  a conflicting  one.  The  space  demanded  a noble  theme  and 
stately  treatment,  conforming  to  the  monumental  majesty  of  the  structure,  and 
yet  responding  to  the  tenderness  and  airiness  of  the  cobweb  of  arabesque.  It 
was  necessary  to  continue  and  also  to  conclude  the  converging  ribs ; to  solidify 
and  also  to  disperse  them ; to  create  a design  subordinate  to  the  architecture 
and  yet  completing  it  and  dominating  it.  His  treatment  is  geometrical.  Four 
figures  crown  the  axial  spaces,  conspicuously  white,  full  fronted,  self-contained, 


1 The  order  in  which  the  various  paintings  in  the  Library  are  treated  in  the  present  essay  is  sub- 
stantially the  same  as  in  the  preceding  portion  of  the  Handbook. 


emphasizing  the  spaciousness  and  symmetry  of  the  structure,  and  symbolizing 
the  four  basic  constituents  of  civilization.  Each  of  these  is  supported  by  a 
figure  to  the  right  and  left,  which  are  so  subtly  posed  that  they  prolong  the 
converging  lines  of  the  ribs  of  the  dome.  While  the  eye  is  thus  continually 
carried  up,  it  is  diverted  horizontally  by  the  interlacing  lines  of  the  limbs,  the 
necklace  of  recurring  banderoles  and  cartouches,  and  finally  by  the  majestic 
sweep  of  wings,  the  sculpturesque  simplicity  of  which  merges  the  painting  into 
the  architecture  above.  To  this  wreath  of  form  the  artist  has  imparted  a suf- 
fused bloom,  tenderly  iridescent ; giving  quiet  distinction  to  each  figure  and  a 
satisfying  harmony  to  the  whole  composition.  His  intellectuality  reveals  itself, 
not  only  in  the  technical  solution  of  his  problem,  but  also  in  the  depth  and 
comprehensiveness  with  which  he  has  interpreted  his  theme.  It  matters  not 
which  figures  one  selects ; all  are  beautiful  and  richly  suggestive.  Compare  the 
representation  of  Religion  and  of  Philosophy ; the  yearning  of  the  one  for  out- 
side strength  and  light  with  the  calm,  passionless  scrutiny  of  the  other ; or  the 
dreamy  transcendentalism  of  Islam , and  his  rounded  limbs,  with  the  square 
strenuous  determination  of  the  young  giant,  America.  This  composition,  how- 
ever, is  not  a circle,  the  recognized  geometrical  symbol  of  eternal  complete- 
ness, but  a concave  ring  whose  lines  converge  toward  a centre  outside  of  and 
above  itself.  That  centre  is  the  figure  in  the  Lantern,  representing  that  Higher 
Wisdom  to  which  the  wisest  are  always  striving  to  attain.  This  concave  ring 
represents  Civilization,  which,  kept  in  perfect  balance  by  the  harmony  of  the 
various  elements  of  human  life,  spins  easily  and  surely  upon  its  axis.  This  is 
the  greatest  good  of  all ; but  it  is  impossible  to  maintain  Civilization  without 
Progress ; it  must  forever  speed  upward  to  the  Higher  Wisdom. 

Mr.  Pearce’s  panels  in  the  north  corridor  are  notable  examples  of  decorative 
color.  The  positive  tints  are  clear  and  fresh  against  soft  backgrounds  of 
secondary  greens  and  violets.  The  composition,  except  in  the  panel  of  The 
Standard-Bearers , leans  to  the  pictorial  rather  than  to  the  decorative  method. 
Perhaps  Labor  and  Religion  combine  the  two  methods  most  happily.  In  the 
former  the  lines  of  the  limbs  repeat  and  relieve  sach  other  most  agreeably. 
There  is  enough  sameness  of  movement  to  emphasize  the  sharing  of  toil, 
sufficient  difference  to  suggest  individual  effort.  There  is  a suggestive 
contrast  in  Religion  between  the  man’s  awe  and  the  woman’s  placid  con- 
fidence. He  recognizes  the  mystery,  she  the  comfort  of  fire.  A germ  of 
the  love  of  the  beautiful  is  shown  in  the  choice  for  an  altar  of  the  curious 
stone  which  they  have  propped  up  so  unstably,  and  yet  with  so  much 
affectionate  care. 

In  the  east  corridor,  Mr.  Alexander’s  six  panels  are  to  be  taken  as  so  many 
fragments  cut  from  the  picture  of  the  ages.  They  are  terse  and  vigorous ; 
they  compel  our  interest.  The  figures  are  dramatic,  in  the  true  sense  that 
they  are  doing  something  simple  and  natural,  while  their  local  surroundings, 
like  the  old  chorus,  interpret  the  significance  — in  some  cases,  from  the  stand- 
point of  to-day,  the  insignificance  — of  the  act.  For,  by  the  exercise  of  keen 
imagination,  and  through  the  resources  of  his  technique,  the  artist  has  rendered 
with  pathetic  vividness  the  dumbness  and  isolation  of  early  man  and  the  unre- 
sponsiveness of  his  surroundings.  With  the  skill  of  an  expert  dramatist,  he 
has  developed  the  growing  permanence  of  the  record,  and  the  widening  of  the 
circle  of  influence,  and  led  up  to  the  climax  when  the  written  speech  of  one 
becomes  the  property  of  all. 

117 


In  Mr.  Walker’s  panels,  Nature  and  not  Humanity  is  the  inspiration.  In  his 
largest  panel,  she  is  exhibited  in  the  unrestraint  of  stream  and  rock  and  verdure. 
Yet  she  is  represented  in  Mr.  Walker’s  paintings  not  so  much  for  her  own  sake 
as  for  the  inspiration  which  she  lends  to  the  mind  of  the  poet.  It  is  Nature 
viewed  through  the  medium  of  the  imagination  — Nature  refined  by  the 
alchemy  of  human  emotion. 

In  the  opposite  panel,  man’s  relation  to  Nature  is  introduced ; in  a sugges- 
tion of  the  old  idyllic,  pastoral  life,  with  a hint,  too,  on  one  side  of  the  panel, 
of  man’s  creative  genius,  the  stately  edifice  into  which,  working  upon  Nature’s 
plan,  he  has  built  his  own  personality.  The  scheme  is  completed  by  the 
smaller  panels  in  which  the  artist  has  suggested  the  various  moods  of  lyric 
poetry,  as  illustrated  by  the  special  genius  of  Shakespeare,  Milton,  Tennyson, 
Emerson,  Keats,  and  Wordsworth. 

Mr.  Vedder,  in  his  Government  series,  has  played  upon  a simple  scale  of 
low-toned  reds,  blues,  greens,  and  yellows,  thus  responding  in  his  work  to  the 
mosaic  and  marble  which  surround  it.  Each  composition  has  a separate 
geometrical  motive,  built  up  by  the  distribution  of  the  colors,  the  balance  or 
contrast  of  light  and  dark,  the  flow  of  the  lines,  and,  not  least,  by  the  arrange- 
ment of  the  spaces.  The  central  panel  succeeds  completely  in  its  twofold 
purpose  of  giving  dignity  and  height  to  the  entrance,  and  of  expressing  the 
solidity  and  elevation  of  Government.  The  use  of  line  is  throughout  remark- 
able. In  the  panels  of  Good  Administration  and  Peace  and  Prosperity  the 
lines  of  direction  are  downward  from  the  zenith.  In  the  former,  these  lines 
fall  in  tenderly  embracing  curves ; in  the  latter  they  widen  out  and  form  that 
strongest  of  all  structures,  a broad-based  pyramid.  In  Corrupt  Legislation , 
the  eye  is  first  arrested  by  the  tilted  leg  and  slovenly  slipper,  and  follows  down 
to  the  money-bag.  We  know  it  all : the  shamelessness,  shiftlessness,  and  cor- 
ruption. It  is  a compression  of  multiplied  experience  into  one  illuminating 
flash.  The  direction  of  the  picture  is  diagonal,  and  the  masses  of  form  and 
color  purposely  accentuate  its  lop-sidedness.  Yet  the  picture  seems  evenly 
balanced,  for  the  simplicity  and  distinctness  of  the  standing  figure  attracts 
one’s  eye  from  the  intentional  confusion  of  the  opposite  side.  In  the  spaces 
one  will  notice  the  harsh  gashes  made  by  the  chimneys,  and  the  unpleasant 
parallelism  of  the  smoke  wreaths,  so  suggestive  of  the  dead  monotony  of  sordid 
lives.  The  triumph  of  ordered  disorder  is  reached  in  the  panel  of  Anarchy , 
which  is  based  on  a reversal  of  geometric  methods.  The  masses  of  dark  and 
light  tumble  diagonally  across  the  picture  towards  the  desolate  space  with  the 
broken  wheel.  The  spaces  at  the  top  are  shattered  and  splintered  as  if  by  an 
explosion.  But  most  remarkable  is  the  jagged  space  near  the  centre.  It  is 
as  if  a shot  had  ploughed  its  way  through  the  chaos  and  allowed  a glimpse  of 
the  void  beyond. 

Mr.  Vedder’s  Minerva  recognizes  at  once  the  strong  points  and  the  limita- 
tions of  mosaic.  The  design  itself  is  a mosaic  in  which  the  full  and  empty 
spaces,  and  the  light  and  darker  portions,  and  the  embroidery  of  lines,  together 
form  a rich  brocade.  Sumptuousness  is  added  by  contrasting  the  smooth  out- 
lines of  the  one  side  with  the  intricate  elaboration  of  the  other.  It  is  very 
interesting  to  note  how  the  spear  ties  together  the  lighter  portions,  and  pre- 
vents the  strong  figure  from  being  too  sharply  silhouetted. 

Around  the  statuesque  simplicity  of  Mr.  Shirlaw’s  Sciences  flows  a sinuous 
play  of  lines,  and  their  broad  masses  of  color  reflect  the  surrounding  tints,  so 

1 18 


that  these  panels  are  more  than  punctuations  ; they  are  at  once  the  focus-points 
and  distributing  centres  of  the  whole  corridor.  There  is  a geometrical  plan 
apparent  in  the  building-up  of  the  figures.  Often  the  main  lines  intersect  diag- 
onally, and  one  is  tranquil,  the  other  energetic ; there  are  centres  of  repose 
and  of  movement  to  which  these  lines  converge ; and  these  are  also  the  points 
of  main  interest  in  the  symbolism  of  the  picture.  In  Mathematics , for  instance, 
the  line  of  the  nude  position,  suggesting  the  naked  accuracy  of  figures,  leads 
up  to  the  calm,  frank  face ; while  the  more  intricate  line  of  the  drapery  winds 
across  diagonally,  and  merges  in  the  convolutions  of  the  scroll,  with  its  hint  of 
abstruse  calculations.  The  arrangement  of  the  draperies,  indeed,  is  invariably 
worthy  of  close  attention.  Compare  the  stem-like  lines  and  petal-shaped  folds 
which  cling  to  the  form  of  Botany , with  the  successive  eddies  that  circle  round 
Astronomy. 

In  Mr.  Reid’s  panels  the  sensitive  vibration  of  color  and  the  luxurious  lines 
eloquently  express  the  delight  of  the  Senses.  But  there  is  no  note  of  deca- 
dence. There  is  so  much  decision  in  the  drawing,  free  expansion  in  the  masses 
of  form  and  color,  and  such  energy  in  the  flashing  color  of  the  drapery,  that  we 
feel  in  these  beautiful  women,  not  the  enervation  of  pampered  senses,  but 
merely  a moment’s  pleased  suspension  of  activity.  This  is  least  noticeable  in 
the  elegant  deliberation  of  Taste ; it  is  finished  to  a delicate  point  in  the  ex- 
quisite conception  of  Touch.  This  is  a picture  of  an  instant  of  arrested  energy, 
shown  in  the  forward  lean  of  the  body,  and  the  momentary  stillness  of  the  out- 
stretched arm  on  which  the  butterfly  has  alighted.  In  a moment  the  insect 
will  be  gone,  the  limbs  will  relax  and  vibrate  again  with  active  life.  Through- 
out, it  is  enjoyment  of  the  senses,  not  abandonment  to  them,  that  the  artist  has 
depicted. 

What  may  be  called  the  debonair  quality  of  Mr.  Barse’s  figures  is  very  notice- 
able. It  is  due  not  only  to  the  purity  of  type,  and  to  the  tenderness  and 
simplicity  of  the  coloring,  laid  on  so  flatly  in  two  or  at  most  three  tones ; but 
mainly  to  the  sensitive  elaboration  of  line.  The  figures  are  of  ample  propor- 
tion, and  the  draperies  voluminous,  but  the  artist’s  appreciation  of  the  value  of 
line  in  mural  decoration  does  not  stop  with  the  broad  effects.  He  weaves  into 
his  draperies  a diaper  of  delicate  folds,  each  of  which  counts.  In  this  way,  by 
contrasting  the  smooth  portions  with  the  comparative  intricacy  of  others,  he 
gives  to  his  figures,  notwithstanding  their  simplicity,  a certain  richness,  a quiet 
assertiveness,  and  a most  agreeable  refinement. 

The  striking  contrast  of  dark  and  light  in  Mr.  Benson’s  panels  gives  them 
decorative  distinction ; a nearer  view  reveals  the  emotional  tenderness  of  detail. 
The  white  figures,  graciously  delicate  in  drawing  and  color,  are  silhouetted 
against  a dark  background,  brocaded  with  a bold  design,  and  lustrous  with  in- 
terpenetrating tints.  The  originality  of  conception  in  the  four  Seasons  is  in- 
teresting. They  are  the  four  seasons  of  human  feeling : the  Springtime  of 
anticipation ; the  Summer  of  possession ; the  Autumn,  not  of  harvest,  but  of 
waning  joyousness ; the  Winter  of  accepted  loss.  Yet  hope  and  youth  remain, 
and  the  beauty  deepened  by  experience  in  the  last  face  is  an  earnest  of  still 
another  spring  and  summer,  which  shall  be  fuller,  richer,  and  more  precious. 

Mr.  Cox’s  paintings  in  the  Southwest  Gallery  exhibit  a strong  sense  of  re- 
sponsibility to  the  aims  and  limits  of  mural  decoration.  The  method  he  has 
adopted  is  to  carry  the  surrounding  architecture  up  into  his  pictures  and  melt 
it  into  a canopy  of  sky.  Before  this  he  has  suspended,  in  the  case  of  Science , 


a delicate  arabesque,  as  it  were,  of  line  and  color  accentuated  by  three  impor- 
tant masses.  Everything  that  could  interfere  with  the  flatness  of  his  decora- 
tion has  been  rigidly  eliminated.  It  is  to  the  wall  and  not  beyond  it  that  he 
would  direct  our  attention.  The  architectural  features  are  only  faintly  depicted, 
and  the  foliage  breaks  up  the  background  without  introducing  another  plane. 
But  it  is  in  the  figures  that  the  artist’s  mastery  over  his  restrictions  is  most 
complete.  With  practically  no  recourse  to  light  and  shade,  but  relying  solely 
on  drawing  and  the  handling  of  a few  tones,  he  has  given  form  and  substance 
to  his  figures.  The  work  throughout  reveals  clearness  of  purpose  and  certainty 
of  accomplishment. 

The  decorations  by  Mr.  Maynard,  in  the  Pavilion  of  the  Discoverers,  strike 
a distinctly  independent  note.  The  starting-point  of  the  scheme  is  the  honor- 
roll  of  illustrious  men  toward  whom  the  central  composition  stands  as  a sort  of 
coat-of-arms,  symbolically  expressing  the  principle  which  links  the  names  into 
a common  family.  The  treatment,  in  fact,  is  heraldic,  and  subtly  suggests  the 
mediaeval  chivalry  out  of  which  the  various  movements  grew.  This  formal 
character  is  assisted  by  the  symmetrical  distribution  of  the  colors.  Virility  of 
mind  and  method  characterizes  every  detail  of  the  compositions.  Compare, 
for  instance,  the  panels  of  Discovery  and  Adventure.  Energy,  assertion,  and 
full-blooded  life  characterize  all  the  figures.  The  aims  and  animating  impulse 
which  especially  distinguish  the  Discoverer  are  expressed  in  the  eager,  generous 
movement  of  one  of  the  flanking  figures,  and  in  the  strong  calm  and  stead- 
fastness of  the  other,  shown,  for  example,  in  the  self-restraint  of  the  sword-arm. 
In  Adventure , on  the  other  hand,  the  roystering  abandon  of  the  figures,  the 
easy  carriage  of  the  sword,  epitomize  the  Adventurer’s  sordid  purpose  and  un- 
scrupulous methods. 

Mr.  Maynard’s  figures  in  the  Staircase  Hall  (the  Virtues)  are  dignified  and 
elegant.  Though  they  are  so  many  vivid  interludes  to  the  repose  of  the  archi- 
tecture, and  are  instinct  with  buoyant  vitality,  yet,  by  their  coloring,  sensitive 
refinement,  and  noble  proportions,  they  echo  the  surrounding  marble. 

Mr.  R.  L.  Dodge  has  adopted  a similar  composition  to  Mr.  Maynard’s  in 
the  Southeast  Pavilion,  in  his  designs  symbolizing  the  four  natural  elements. 
The  color  schemes  are  in  a light  key.  The  backgrounds,  to  which  the  panels 
are  most  indebted  for  their  decorative  value,  have  a considerable  poetic  qual- 
ity. Their  intention  is  clear,  and  its  expression  agreeably  fanciful.  The 
names  in  the  tablet  below  have  an  interesting  significance,  recording  the  Greek 
personification  of  the  characteristics  of  the  elements.  The  majesty  of  ocean, 
for  instance,  was  embodied  in  Poseidon;  Proteus  personified  its  quality  of 
assuming  any  shape  ; Galatea,  its  surpassing  beauty. 

In  the  next  pavilion  — the  Pavilion  of  the  Seals  — Mr.  Van  Ingen  has  at- 
tacked his  problem  from  the  standpoint  of  color.  The  treatment  of  the  sub- 
ject is  formal,  for  which,  however,  the  artist  has  abundant  warrant  in  tradition. 
The  soul  is  infused  into  it  by  color.  In  the  density  and  richness  of  the  tones, 
the  sumptuous  texture  of  the  surfaces,  he  has  embodied  the  abstract  idea  of 
the  solidity,  grandeur,  and  delicate  complexity  of  well-ordered  government. 
The  color  schemes  vary.  In  Dost-  Office  and  Justice , there  is  a diffusion  of 
motive.  Rose  and  violet  penetrate  the  panel,  playing  with  each  other  and  affect- 
ing the  other  colors  with  subtle  variations.  In  Treasury , however,  the  blue- 
green  impression,  which  swims  over  the  whole,  is  brought  into  a depth  of  tone 
in  the  woman’s  dress ; while  in  War  there  is  a crispness  of  color  throughout 


120 


in  quick  accord  with  the  alertness  of  the  figure  and  the  flash  of  her  robes. 
These  panels  are  essentially  a painter’s  vision,  expressed  through  a painter’s 
special  medium. 

Mr.  W.  L.  Dodge,  in  the  Pavilion  of  Art  and  Science,  has  grappled  with  his 
problem  in  a big  way ; exhibiting  an  eager  acceptance  of  difficulty,  and  a reso- 
lute choice  of  intricate  interest.  For  instance,  he  has  arranged  the  light  to 
fall  upon  his  figures  at  short  range,  so  that,  instead  of  a simple  scheme  of  light 
and  shade,  there  is  a multiplicity  of  unexpected  effects.  This  purpose  has 
expanded  under  the  influence  of  the  various  subjects.  The  panels  of  Art  and 
Music  are  crowded  with  sensations.  We  feel  that  here  the  painter  is  con- 
sciously and  unconsciously  reproducing  the  sensations  of  his  Ait  life.  In  Lit- 
erature, however,  he  has  emerged  into  a more  impersonal  atmosphere.  In 
Science  the  reproduction  of  sensations  even  more  clearly  yields  to  the  creation 
of  thought.  Lastly,  the  ceiling  is  the  climax  of  this  growing  artistic  and  intel- 
lectual effort.  Here  the  problem  is  at  its  biggest,  and  the  technical  solution 
most  successful.  It  is  not  by  this  or  that  accident  of  professional  attainment 
that  Mr.  Dodge  wins  us  here.  It  is  because  we  feel  that  here  the  technique 
finally  becomes  the  handmaid  of  real  creative  faculty. 

In  Mr.  Melchers’s  War  and  Peace , it  is  not  beauty,  in  the  popular  acceptation 
of  the  term,  that  attracts  us.  Our  interest  is  seized  by  their  masterful  character, 
held  by  their  strong  technique,  and  confirmed  by  their  deep  human  signifi- 
cance. The  brush-work  is  simple  and  sure,  applied  with  breadth  and  in  few 
tones,  imitating  the  manner  of  frescoes  in  the  old  manner,  painted  rapidly 
while  the  plaster  was  still  damp.  Everything  counts,  and  the  artist’s  thought 
is  brought  close  to  us.  The  composition  varies  with  the  subjects.  In  Peace , 
Mr.  Melchers  has  relied  on  smooth  masses  balanced  athwart  a pleasing  leafy 
background.  Movement  is  suspended.  War,  however,  shows  the  vigorous 
construction  of  moving  forms : solid  masses  and  a tangle  of  gnarled  limbs  dis- 
played naked  against  a harsh  landscape.  We  have  muscular  and  mental  ten- 
sion. We  see  only  the  horror  and  hideousness  of  war,  and  none  of  its  pomp 
and  circumstance.  Laurel,  indeed,  crowns  the  leader’s  head,  but  his  son  is 
stretched  a corpse  upon  the  rude  bier.  One  man  blows  a trumpet,  but  none 
of  the  dogged  faces  kindles.  Only  the  hounds  show  eagerness,  and  they  are 
straining  at  the  leash  to  get  home.  The  religious  procession  is  in  its  way  just 
as  strong.  It  is  entirely  unsentimental.  These  simple  folk  are  entering  natur- 
ally into  what  is  merely  a part  of  their  life  and  thought. 

A great  deal  of  the  charm  of  Mr.  McEwen’s  panels  is  due  to  the  landscapes, 
which  are  instinct  with  poetical  imagination.  The  artist  has  given  them  an 
atmosphere  which  sets  them  back  in  the  past,  when  the  world  was  in  its  youth 
and  full  of  promise  rather  than  fulfilment.  In  the  episodes  selected,  it  is  not 
the  heyday  of  heroic  achievement  that  he  has  commemorated,  but  the  first  im- 
pulses, such  as  those  of  Jason  and  Paris,  or  the  reverses  and  inadequate  results 
of  human  effort  as  illustrated  in  the  other  heroes.  Stripped  of  its  glamor, 
this  is  perhaps  the  true  story  of  heroism  in  all  ages. 

Mr.  Gutherz  in  his  seven  panels  on  the  ceiling  of  the  House  Reading  Room, 
has  symbolized  Light  in  its  physical  and  metaphysical  aspects.  The  starting- 
point  of  the  scheme  is  the  central  panel  — “Let  there  be  light”  — and  the 
others  follow  in  prismatic  sequence.  He  has  not  painted  the  clearness  of  light, 
but  its  subtle  play  upon  various  surfaces.  For  example,  from  the  central  figure, 
u whose  face  no  man  hath  seen  and  lived,”  radiates  a pale  saffron  glow,  strug- 


1 2 1 


gling  through  the  formless  void  of  primeval  chaos,  and  piercing  it  with  stars  and 
splinters  of  light.  In  the  next  panel  of  Progress  light  is  burnishing  the  dry 
atmosphere  of  an  eastern  sky ; while  in  that  of  Research  it  acts  and  re- acts  upon 
the  particles  of  deep  water,  and  spends  itself  in  a soft  suffused  luminousness. 

Mr.  Dielman  has  adopted  in  his  History  an  almost  sculptural  design  ; in  Law 
rather  a pictorial.  In  the  latter  the  group  on  the  spectator’s  right  is  an  espe- 
cially attractive  portion  of  the  composition.  In  the  case  of  the  centre  figure,  it 
is  well  worthy  of  notice  how  the  flexible  lines  on  one  side  woo  the  figures,  while 
on  the  other  the  drapery  as  well  as  the  figure  of  Fraud  slinks  away  from  the 
hard  line  of  the  sword  and  the  strong  angle  of  the  arm. 

Mr.  Simmons’s  Muses  exhibit  a certain  restless  power,  tempered  by  the  sen- 
sibility of  drawing  and  color.  The  first  impression  is  of  a vivid  blue  or  red 
spot.  The  note  is  at  once  daring  and  original  and  in  time  irresistibly  persuasive. 
For  these  panels  are  daring,  not  only  in  color  but  in  the  treatment  of  the  sub- 
ject. The  painter  has  infused  into  the  old  Greek  conception  some  of  the 
intricacy  of  modern  thought,  without,  however,  losing  the  classic  character. 
Observe,  for  instance,  his  representation  of  Tragedy.  Greek  tragedy  was  con- 
cerned with  facts,  the  sin  and  the  vengeance,  not  with  psychological  considera- 
tions. The  actor’s  mask  covered  even  his  face.  But  in  the  panel  before  us  is 
a suggestion  of  the  whole  perplexing  problem  of  human  sin  and  suffering.  Or 
note  the  conception  of  Calliope,  with  the  hands  uplifted  like  Aaron’s,  partly  in 
supplication,  partly  in  encouragement,  and  with  the  shadow  across  those  pity- 
ing eyes  ; it  would  be  unintelligible  but  for  the  Inferno  or  Paradise  Lost.  In 
the  thought  and  execution  we  feel  a certain  quality  of  what  one  may  be  allowed 
to  call,  perhaps,  diablerie.  Sometimes  it  becomes  palpable  to  sight,  as  in  the 
pale  yellow  flame  in  the  panel  of  Polyhymnia.  It  is  something  more  than 
technique  — it  is  a spark  struck  out  of  the  artist’s  personal  consciousness. 

A few  words  in  conclusion  upon  the  significance  of  this  Library.  The  union 
of  sculpture  and  painting  with  architecture  has  always  marked  the  brilliant 
period  of  a country,  not  only  in  arts  and  sciences,  but  in  material  and  social 
advancement.  The  movement  in  this  country,  begun  by  Richardson  and  John 
la  Farge,  in  Trinity  Church,  Boston,  has  been  steadily  fostered  by  our  leading 
architects,  gained  an  immense  impulse  at  the  World’s  Fair,  was  endorsed  by 
the  Trustees  of  the  Boston  Public  Library,  and  may  now  in  the  Library  of  Con- 
gress be  said  to  have  received  the  sanction  of  Government.  It  is  a pre-emi- 
nently democratic  movement,  for  art  so  directed  becomes  an  idealized  embodi- 
ment of  the  national  life,  and  is  brought  within  the  reach  of  millions.  And  the 
benefit  will  react  upon  Art  itself,  since  her  domain  is  thereby  widened,  her 
opportunities  increased,  and  an  incentive  supplied  to  higher  and  nobler  work. 
Studied  in  connection  with  the  great  buildings  of  Europe,  this  Library,  repre- 
senting the  various  aims  and  methods  of  so  many  men,  working  from  different 
points  of  view  towards  the  same  purpose,  will  afford  an  opportunity  for  analysis 
and  comparison  that  should  yield  rich  fruit.  One  may  even  venture  to  predict 
that,  properly  used,  it  will  lead  to  that  artistic  ideal,  the  formation  of  a distinc- 
tively American  School  of  Mural  Painting.  A school,  founded  upon  the  methods 
of  the  past ; but  differing  in  its  animating  impulse ; no  longer  catering,  as  in 
the  Italian  Renaissance,  to  the  cultivated  caprice  of  a few  powerful  patrons,  or 
reflecting  an  age  when  faith  and  civic  virtues  had  waned,  but  broadening  out 
to  express  the  aspirations  of  a self-governing  People,  who  profess  belief  in 
Religion,  Country,  Home,  Themselves,  and  Humanity  at  large. 


122 


THE  uses  of  a great  national  collection  of  books  are  so  manifold  and 
far-reaching  that  it  is  difficult  to  sum  them  up  in  any  succinct  state- 
ment. The  Library  at  Washington,  steadily  growing  for  generations, 
was  founded  primarily  for  the  use  and  reference  of  Congress.  As  the 
library  of  our  national  legislature,  whose  responsible  labors  cover  the  wide  field 
of  domestic  welfare  and  foreign  relations,  it  should  contain  all  that  can  contrib- 
ute to  their  service  and  information.  This  being  its  primary  function,  and  a 
great  and  comprehensive  library  having  been  thus  gathered,  a far  wider  field  of 
usefulness  is  found  in  opening  its  treasures  freely  to  the  public.  Gathered  as 
it  has  been  by  appropriations  of  public  money,  supplemented  for  more  than  a 
quarter  of  a century  by  the  steady  acquisitions  coming  in  under  copyright  law, 
it  has  become  to  a degree  the  representative  of  American  science,  and  the 
conservatory  of  the  Nation’s  literature.  As  the  only  Government  library  of  com- 
prehensive range,  every  year  of  its  existence  should  be  marked  by  incessant 
progress  toward  completeness  in  every  department.  In  the  new  and  splendid 
home  for  the  Nation’s  books  provided  by  the  far-sighted  liberality  of  Congress, 
readers  whose  pursuits  are  endlessly  varied  should  be  assured  of  finding  the 
best  literature  of  all  lands.  It  is  a fact  pregnant  with  meaning  that  the  nations 
which  possess  the  most  extensive  libraries  maintain  the  foremost  rank  in  civili- 
zation. 

The  universality  of  its  range  and  of  its  usefulness  should  not  lead  any  to 
overlook  the  fact  that  it  is,  first  of  all,  the  Library  of  Congress.  Here,  at  the 
political  capital  of  the  country,  the  Senators  and  Representatives  who  are 
responsible  for  the  legislation  of  seventy  millions  of  people  are  assembled.  In 
dealing  with  the  wide  range  of  interests  involved,  there  is  almost  no  knowledge 
which  may  not  at  some  time  be  wanted,  or  which  can  come  amiss.  Here  are 
settled  or  modified  the  principles  of  the  internal  economy  and  foreign  policy  of 
the  Nation.  Here  resort  the  innumerable  .promoters  of  local,  or  individual,  or 
corporate,  or  State,  or  Territorial,  or  National,  or  foreign  interests,  all  of  whose 
propositions  are  to  be  examined,  weighed,  and  brought  to  the  test  of  reason, 

123 


precedent,  justice,  and  facts  of  record.  Here  are  apportioned  those  expendi- 
tures of  public  money  which  carry  on  the  Government  and  tend  to  the  develop- 
ment of  the  country.  Here  questions  of  internal  revenue  and  tariff  taxation, 
public  land  policy,  the  pension  system,  patents,  copyrights,  postal  service,  agri- 
culture, education,  Indian  policy,  internal  commerce,  immigration  and  natural- 
ization, the  fisheries,  merchant  shipping,  the  army,  the  navy,  the  coast  survey, 
the  civil  service,  the  public  debt,  the  whole  financial  system,  and  the  people’s 
measure  of  value,  are  discussed  and  settled.  In  the  vast  and  complicated  sys- 
tem involved  in  a government  so  complex  as  the  American,  where  State  rights 
and  Federal  supremacy  are  constantly  brought  in  question,  Congress  and  its 
Committees  are  taxed  with  responsibilities  which  demand  the  widest  political, 
historical,  and  judicial  knowledge.  Only  a library  of  completely  encyclopaedic 
range,  filled  with  books  and  periodicals  which  illustrate  every  subject,  and  throw 
light  upon  the  history  and  policy  of  every  nation,  is  adequate  to  equip  them  for 
their  work. 

In  like  manner,  the  Supreme  Court  and  the  other  courts  of  the  United 
States,  established  at  the  Seat  of  Government,  the  Interstate  Commerce  Com- 
mission, and  the  tribunals  frequently  created  to  consider  and  report  upon  ques- 
tions of  national  or  international  importance,  require  and  receive  the  constant 
aid  of  the  rich  assemblage  of  authorities  here  gathered.  It  was  found  that 
more  than  two- thirds  of  the  books  relating  to  Venezuela  and  its  border-coun- 
tries of  South  America,  needed  for  reference  by  the  Venezuelan  Commission, 
were  in  the  Library  of  Congress. 

Not  less  important  and  valuable  is  the  service  rendered  by  this  Library  to 
all  the  Departments  and  Bureaus  of  the  Government.  Questions  frequently 
arise  requiring  investigations  so  broad  and  extensive  as  to  overtax  the  stores  of 
even  the  largest  library  to  supply  all  the  information  sought  for. 

To  a National  Library  which  is,  in  some  degree,  the  intellectual  centre  of  a 
great  capital,  resort  numberless  seekers  after  books  and  information.  Here  is 
found  the  busy  journalist,  turning  over  files  of  forgotten,  but  carefully  preserved 
newspapers,  to  ascertain  or  to  verify  facts,  dates,  or  opinions.  Here  the  Sena- 
tor or  Representative  seeks  and  finds  precedents  and  illustrations,  authorities 
and  legal  decisions,  parliamentary  history  and  the  experience  of  nations,  to 
embody  in  his  reports,  or  apt  citations  and  poetic  gems  to  adorn  his  speeches. 
Hither  come  the  students  of  history,  American  and  foreign,  assured  of  finding 
the  chronicles  that  illustrate  every  period,  early  or  recent,  in  whatever  language. 
Here  are  found  devotees  of  art,  studying  the  manuals  or  the  histories  of  paint- 
ing and  sculpture,  or  the  engraved  galleries  of  Europe,  for  examples  of  the 
beautiful.  Hither  come  the  architect,  the  mechanic  and  the  engineer,  in 
search  of  designs,  of  models,  or  of  patents,  or  of  some  book  which  contains  the 
last  word  in  electrical  science.  Here,  too,  come  professional  men  of  every 
class,  lawyers  after  leading  cases,  clergymen  investigating  commentaries  or  re- 
ligious homilies,  physicians  reading  medical  or  surgical  or  hygienic  treatises, 
teachers  and  professors  striving  to  add  to  their  learning.  The  readers  in  the 
wide  and  attractive  fields  of  literature  are  still  more  numerous  than  those  who 
pursue  the  graver  walks  of  science.  Here,  the  vast  number  and  variety  of 
works  of  fiction  have  their  full  quota  of  absorbed  readers.  The  enthusiasts  of 
poetry  and  drama  follow  close  upon,  and  the  student  of  biography  finds  no  end 
of  memoirs  that  are  equally  full  of  entertainment  and  instruction.  Essays  and 
criticism  enlist  the  attention  of  many,  while  many  more  find  their  delight  in 

124 


the  perusal  of  voyages  and  travels.  Here  the  eager  student  of  metaphysics  or 
moral  science  feeds  his  intellect  upon  the  great  masters  of  human  thought, 
and  the  man  ambitious  of  great  reforms  busies  himself  over  the  books  on  social 
science.  Here  comes  the  student  of  natural  science  in  quest  of  botany,  zool- 
ogy, or  the  other  kingdoms  of  nature,  and  the  politician  searches  after  the 
arguments  and  the  history  of  parties.  Here  the  zealous  grubber  after  facts  of 
genealogy  burrows  among  endless  tables  of  family  births,  deaths,  and  marriages, 
and  the  ever  present  investigator  of  heraldry  traces  the  blazonry  of  crests  and 
coats-of-arms.  Here  frequent  the  feminine  searchers  after  costumes,  fanciful  or 
historical,  and  here  the  lovers  of  music  resort  to  feed  their  sense  of  harmony 
upon  the  scores  of  the  great  composers.  The  student  of  oratory  revels  in  the 
masterpieces  of  ancient  or  modern  eloquence,  and  the  lover  of  classic  lore  lux- 
uriates in  the  pages  of  Greek  or  Roman  poets,  philosophers,  or  historians.  The 
law  of  nations  (that  undiscoverable  science)  engages  the  baffled  researches  of 
some,  while  many  others  pursue,  through  a world  of  controversial  writings,  the 
knotty  problems  of  finance.  Some  readers  visit  the  Library  for  prolonged  and 
serious  and  fruitful  investigation  — others  for  only  momentary  purpose  to  verify 
a quotation,  or  to  settle  a wager  about  the  origin,  the  meaning,  or  the  orthogra- 
phy of  a word.  Many  books  have  been  written,  and  many  more  have  been 
edited  or  corrected,  by  the  aid  of  the  copious  stores  of  every  great  library. 

To  respond  adequately  to  all  these  and  countless  more  demands  upon  its  in- 
tellectual resources,  a National  Library  must  clearly  be  one  of  universal  range. 
This  comprehensive  aim  for  the  National  Library  will  appear  still  'more  impor- 
tant when  it  is  considered  that  it  is,  in  effect,  the  only  really  representative 
library  of  the  nation.  Not  that  other  collections  (and  many  of  them,  let  us 
hope)  are  not  equally  far-reaching  in  their  scope  and  their  aim  at  completeness  ; 
but  the  Government  Library  being  the  only  one  endowed  with  the  full  copyright 
production  of  the  country,  its  law  of  growth  is  necessarily  in  advance  of  that  of 
other  collections,  however  well  endowed — provided  only  that  adequate  care  be 
taken  by  Congress  for  its  proper  increase  in  other  directions.  The  copyright 
law  brings  into  it,  year  by  year,  virtually  the  entire  intellectual  product  of  the 
nation  so  far  as  protected  by  copyright ; as  well  as  a steadily  increasing  share 
(since  the  extension  of  the  area  of  copyright  protection  through  the  international 
provisions  of  the  act  of  1891)  of  the  works  of  foreign  authors.  Thus  the  Na- 
tional Library  acquires  a great  store  of  publications  which  the  other  libraries  do 
without,  from  lack  of  means,  or  of  room,  or  of  disposition  to  purchase. 

It  is  easy  to  say  that  the  greater  part  of  the  books  and  periodicals  thus  ac- 
quired are  trash ; but  it  is  to  be  considered  that  very  substantial  reasons  can  be 
urged  why  one  library  should  preserve  the  entire  product  of  the  American  press, 
irrespective  of  intrinsic  value.  First,  every  nation  should  have,  at  its  capital 
city,  all  the  books  that  its  authors  have  produced,  in  perpetual  evidence  of  its 
literary  history  and  progress  — or  retrogression,  as  the  case  may  be.  Secondly, 
this  complete  assemblage  of  our  literature  in  the  Library  of  the  Government 
(that  is,  of  the  whole  people)  is  an  inestimable  boon  to  authors  and  publishers, 
many  of  whose  books,  after  years  have  elapsed,  may  owe  to  such  a collection 
their  sole  chance  of  preservation.  Thirdly,  it  is  a most  valuable  aid  to  would- 
be  writers  to  have  access  to  all  the  works  that  have  been  published  in  the  special 
field  they  seek  to  cultivate.  Fourthly,  one  comprehensive  library  — inclusive 
and  not  exclusive  — should  exist,  because  all  other  libraries  must  be  in  a greater 
or  less  degree  exclusive.  Fifthly,  all  American  books  should  be  preserved  as 

I25 


models  — even  if  many  of  them  are  models  to  be  avoided.  One  learns  as  milch 
frequently  from  the  failures  of  others,  as  from  their  successes.  Sixthly,  it  is  al- 
ready provided  by  law  (and  very  wisely),  that  all  copyright  publications  of 
whatever  character,  shall  be  deposited  in  the  Library  of  Congress,  and  the  Na- 
tion is  as  much  bound  to  conserve  these  things,  in  evidence  of  copyright,  as  to 
preserve  the  models  in  the  Patent  Office,  in  evidence  of  patent  right.  Seventhly, 
there  is  no  standard  of  selection  or  of  exclusion  that  could  be  adopted  which 
would  stand  against  the  fact  of  the  endlessly  varying  judgments  of  different 
men,  or  even  of  the  same  men  at  different  periods.  What  is  pronounced  trash 
to-day  may  have  an  unexpected  value  hereafter,  and  the  unconsidered  trifles  of 
the  press  of  the  nineteenth  century  may  prove  highly  curious  and  interesting  to 
the  twentieth,  as  examples  of  what  the  ancestors  of  the  men  of  that  day  wrote 
and  thought  about. 

Of  course  it  should  be  one  of  the  foremost  aims  of  our  National  library  to 
secure  all  books,  pamphlets,  maps  and  periodicals  relating  to  our  own  country. 
Everything  that  can  illustrate  the  discovery,  settlement,  history,  biography, 
natural  history,  or  resources  of  America  should  be  gathered.  The  already  rich 
collection  of  Americana  comprises  a large  share  of  the  earlier  works  respecting 
America,  nearly  all  of  which  are  now  rare,  as  well  as  of  the  early  printed  books 
of  the  various  American  presses,  and  many  published  in  places  where  no  books 
are  now  printed.  Assiduous  pains  have  been  taken  to  increase  these  collections 
from  auctions  and  from  sale  catalogues  in  this  country  and  in  Europe. 

Another  function  of  the  Library  of  the  Nation  is  to  furnish  a repository  for 
special  collections  of  books,  manuscripts,  and  memorials,  which  may  be  ded- 
icated by  their  donors  to  public  use.  Now,  for  the  first  time,  the  Government 
of  the  United  States  is  placed  in  a position  where  it  can  receive  and  preserve 
in  a fitting  manner,  in  a noble  fireproof  edifice,  of  ample  proportions,  such  gifts 
of  private  libraries,  etc.,  as  any  of  its  citizens  may  present.  One  such  dona- 
tion, from  a public-spirited  citizen  of  Washington,  the  late  Dr.  J.  M.  Toner, 
has  already  been  presented  and  accepted  by  Congress.  It  is  to  be  expected 
that  the  example  will  be  followed  by  other  collectors  of  private  libraries,  who 
feel  a natural  reluctance  that  their  collections  of  special  value,  costing  years  of 
time  and  much  money  to  assemble,  should  be  scattered  abroad  after  they  have 
ceased  to  enjoy  them,  leaving  no  memorial  behind. 

In  this  connection  it  should  be  noted  that  the  National  Library  furnishes  the 
most  obvious  and  appropriate  repository  for  special  collections  of  manuscripts. 
When  organized  into  departments,  the  systematic  collection,  arrangement,  and 
preservation  of  manuscripts,  with  calendars  both  alphabetical  and  chronological, 
open  to  public  use,  will  form  one  of  the  cardinal  objects  to  be  kept  in  view. 
This  too  long-neglected  field,  though  zealously  cultivated  by  the  leading  his- 
torical societies  of  the  country,  has  had  no  proper  recognition  at  the  hands  of 
the  American  Government.  While  the  manuscript  papers  of  four  American 
Presidents  have  been  purchased,  because  offered  to  Congress  by  their  heirs, 
no  attempt  to  obtain  and  preserve  those  of  the  other  Presidents  has  been 
made,  nor  has  any  fund  been  devoted  by  Congress  to  secure  the  papers  of  other 
public  men.  All  the  principal  nations  of  Europe,  and  even  the  Dominion  of 
Canada,  have  an  archivist,  or  custodian  of  manuscripts,  responsible  for  keep- 
ing, indexing,  and  increasing  these  collections,  whose  importance  as  original 
documents  illustrating  the  history  and  biography  of  the  nation  can  hardly  be 
overrated.  To  avail  of  all  opportunities  offered  for  securing  such  manuscript 

126 


collections,  and  to  seek  out  others,  thus  preserving  for  posterity  unique  and 
valuable  historical  materials  which  would  otherwise  remain  in  private  hands, 
subject  to  constant  diminution  or  destruction,  should  be  one  cardinal  function 
of  the  National  Library.  Many  such  would  be  freely  given  by  their  owners,  if 
assured  of  permanent  care  and  preservation  in  that  institution. 

The  acquisition  and  preservation  of  pamphlet  and  periodical  literature 
should  be  sedulously  cultivated  by  National  Libraries.  No  fact  is  more  familiar 
to  students  than  the  rapid  disappearance  of  these  ephemeral  but  often  valuable 
publications.  The  chances  of  procuring  any  desired  pamphlet  a few  months 
after  its  publication  are  incalculably  smaller  than  those  of  securing  copies  of 
any  book.  Hence  the  importance  of  adding  them  to  the  one  representative 
library  of  the  Nation  while  they  are  yet  fresh  and  procurable.  As  this  species  of 
literature  is  seldom  protected  by  copyright,  the  greater  portion  of  the  pam- 
phlets of  any  period  must  remain  unrepresented  in  the  Government  Library 
unless  their  authors  will  take  the  trouble,  by  wise  forethought,  to  send  copies 
of  their  productions  to  Washington.  Of  the  great  value  of  pamphlets,  as  ex- 
ponents of  the  thought  of  the  time,  and  the  questions  which  agitate  the  public 
mind,  expressed  frequently  in  condensed  and  forcible  style,  there  can  be  no 
question. 

Of  the  periodical  literature,  in  its  vast  extent  and  variety,  now  including,  in  the 
United  States  alone,  more  than  twenty  thousand  different  publications,  a National 
Library  should  acquire  and  preserve  the  more  important  portions.  These,  in 
the  absence  of  any  possibility  of  providing  room  for  all,  may  be  held  to  em- 
brace (i)  All  American  reviews  and  magazines,  with  a selection  of  the  leading 
English  and  European  ones.  (2)  The  daily  newspapers  of  the  larger  cities  of 
the  country,  and  a few,  at  least,  of  the  principal  journals  of  England  and  the 
Continent,  not  forgetting  the  American  republics,  and  Canada.  (3)  Two,  at 
least,  of  the  most  widely  circulated  journals  of  each  State  and  Territory  in  the 
Union,  representing  each  political  party.  This  has  been  the  established  policy 
of  the  Library  for  thirty  years  past,  and  the  bound  files  of  these  periodicals 
constitute  one  of  the  most  largely  used  portions  of  the  Library.  Only  by 
keeping  up  full  sets  of  the  notable  serials,  whether  literary,  political,  religious, 
historical,  scientific,  legal,  medical,  technical,  agricultural,  economic,  etc.,  can 
the  Library  answer  the  just  demands  of  the  national  legislature  and  of  the  pub- 
lic. In  whatever  direction  American  libraries  may  be  inferior  to  those  of  other 
and  older  nations,  they  are  (at  least  in  the  larger  collections)  well  equipped 
with  the  literature  of  periodicals.  The  materials  thus  furnished  to  the  politician 
the  historical  writer,  or  the  student  of  literature,  are  of  great  and  incalculable 
value.  A National  Library  is  not  for  one  generation  alone,  but  for  all  time. 
So  much  the  more  important  is  its  function  of  handing  down  to  the  readers  and 
students  of  the  future. a full  and  authentic  mirror  of  each  age  in  its  progressive 
growth,  to  be  found  most  vividly  in  the  pages  of  the  daily  and  weekly  journals, 
and  the  magazines  and  reviews  of  every  class.  These  periodicals  furnish  the 
best  impress  of  the  times  which  can  be  derived  from  any  single  source.  Stored 
up  in  a permanent  fireproof  repository,  they  are  ever  ready  to  be  drawn  upon 
by  those  who  know  how  to  use  them. 

One  little  known  and  imperfectly  understood  function  of  the  National  Library 
is  to  furnish  evidence  of  literary  property  to  all  who  are  interested  in  copyrights. 
This  is  rendered  possible  through  the  removal  to  Washington,  by  the  copyright 
act  of  1870,  of  all  original  records  of  copyright,  previously  scattered  in  more 

127 


than  forty  different  offices  throughout  the  various  States.  The  registry  of  copy- 
rights having  been  transferred  to  the  Librarian  of  Congress,  at  the  same  time, 
and  continued  ever  since,  it  is  easy  to  follow  out  the  record  of  any  individual 
copyright,  and  thus  to  trace  questions  concerning  literary  property  for  more 
than  a century.  This  facility  is  of  great  value  to  publishers  and  authors,  in  the 
various  negotiations  constantly  being  made  in  questions  of  renewal  of  the  terms  of 
copyrights  expiring,  or  in  suits  at  law  seeking  to  establish  or  to  invalidate  copy- 
rights by  litigation,  or  to  prevent  infringement.  Incident  to  this,  it  is  a part  of 
the  function  of  the  Library  to  produce  any  copyright  book,  or  other  publication 
in  its  possession,  for  inspection  by  whom  ever  it  may  concern. 

An  incidental  benefit  of  the  Library  is  found  in  its  rich  accumulation  of  works 
of  the  fine  arts.  These  include,  besides  the  multitude  of  illustrations  and  gal- 
leries to  be  found  in  books,  hundreds  of  thousands  of  examples  of  graphic  art, 
many  of  them  costly  and  valuable,  acquired  by  copyright.  Arranged  in  classes, 
in  the  spacious  art-gallery  provided,  they  form  a most  instructive  and  entertain- 
ing exhibit  of  the  progress  of  the  arts  of  design. 

Of  the  numerous  and  beautiful  works  of  art  embraced  in  the  decoration  of 
the  Library  building,  full  account  is  taken  elsewhere  in  the  present  volume. 
Suffice  it  to  say  here,  that  readers  and  frequenters  of  the  Library  who  are  sur- 
rounded with  such  architectural  and  artistic  attractions,  will  find  rich  suggestions 
on  every  hand,  as  they  pursue  their  several  aims.  What  more  inspiring  ad- 
juncts to  study  or  contemplation  can  exist  than  the  sumptuous  marble  arches, 
the  statues  of  illustrious  authors,  the  graphic  paintings  and  sculptured  emblems 
illustrative  of  science,  literature,  and  art,  and  the  many  inscriptions  drawn  from 
the  writings  of  the  great  scholars  of  the  world?  The  stately  Library  building 
with  its  precious  contents  thus  contributes  not  only  to  the  public  intelligence, 
but  also  to  elevate  and  to  refine  the  public  tarste. 

While  every  consideration  favors  the  most  liberal  hours  of  frequentation  and 
use  of  the  collection,  it  is  manifestly  not  a proper  function  of  a National  Library 
to  furnish  a circulating  library  for  the  people  of  the  city  in  which  it  is  located. 
All  experience  proves  that  a great  library  of  reference  cannot  be  made  a library 
of  general  circulation  without  destroying  its  function  as  a reference  library. 
Every  frequenter  of  the  National  Library  has  a right  to  expect  that  the  books 
it  contains  will  be  found  when  called  for.  This  is  impossible  if  a large  portion 
of  them  are  out  in  circulation.  Nor  can  this  be  met  by  the  claim  that  dupli- 
cates would  enable  the  Library  to  loan  freely.  There  are  no  more  than  enough 
duplicates  to  meet  the  uses  of  members  of  Congress  who  have  the  legal 
privilege  of  drawing  books.  Moreover,  the  few  who  would  be  convenienced  by 
the  loaning  out  of  the  books  would  be  favored  only  to  the  inconvenience  of  the 
many,  who  would  find  very  many  of  them  continually  absent  from  the  shelves. 
The  greatest  good  of  the  greatest  number  would  thus  be  unjustly  sacrificed. 

The  suggestion  has  been  made  that  one  of  the  two  copies  of  books  received 
by  copyright  might  be  utilized  for  the  purposes  of  circulation.  This  is  conclu- 
sively met  by  the  fact  that  the  copyright  deposits  are  a trust  under  the  law,  like 
the  models  in  the  Patent  Office,  and  while  one  copy  may  properly  be  kept  in 
the  Library,  for  the  use  of  Congress  and  for  public  reference,  the  other  should 
be  sedulously  preserved  in  the  copyright  archives.  All  comers,  however,  have 
free  enjoyment  of  the  benefits  of  this  great  Library  within  its  attractive  walls, 
and  are  welcomed  by  its  liberal  management  to  share  its  literary,  scientific,  and 
artistic  treasures. 


128 


CHE  Hardware  of  the  Library  of  Congress  Build- 
ing is  for  the  most  part  of  plain  bronze  largely 
made  to  order  from  government  specifications. 
Both  the  locks  and  hardware  were  furnished  by 
The  Yale  & Towne  Manufacturing  Company  of 
84-86  Chambers  Street,  New  York  City;  works  at 
Stamford,  Conn. 

The  name  “YALE”  suggests  the  interesting  fact 
that  the  founder  of  this  Company  (Mr.  Linus  Yale, 
Jr.),  by  means  of  his  invention  of  the  lock  which 
bears  his  name,  effected  a revolution  in  the  whole  art  of  lock  making,  both  in 
principle  and  construction,  and  while  many  imitations  have  since  been  put 
upon  the  market,  the  only  genuine  Yale  locks  are  those  made  by  this  Company. 

The  Paracentric  key  here  illustrated  is  made  by  special  patented  machinery 
and  increases  vastly  the  original  security  of  the  Yale  lock  as  first  produced.  It 
represents  the  highest  limit  of  security  where  a key  is  used  and  is  furnished 
with  all  Yale  locks. 

In  Art  Metal  Work  the  Company  have  an  unrivalled  collection  of  Ornamenta- 
tions in  all  schools  and  finishes.  An  example  of  recent  work  is  shown  on  oppo- 
site page.  A specialty  is  made  of  the  pro- 
duction of  metal  work  from  Architects’ 
own  drawings ; exclusive  designs  are  also 
furnished  in  any  school  of  ornament. 

The  Yale  Post-Office  Lock  Boxes  and 
Outfits,  made  by  this  Company,  are  to  be 
found  in  nearly  all  post-offices  of  the 
better  class.  See  the  full  page  adver- 
tisement, page  xv. 


These  stairs  are  models  of  construction  and 
finish  for  this  class  of  work,  and  by  maintaining 
the  same  general  good  standard  of  workmanship 
throughout  its  extensive  establishment,  The  L. 
Schreiber  & Sons  Co.  has  attained  a prestige 
second  to  none  in  the  country. 

The  Company  executes  the  most  elaborate  designs  of  ornamental  work  in 
both  iron  and  bronze,  and  is  also  a large  manufacturer  of  structural  iron  and 
steel  for  buildings  and  viaducts,  its  plant  being  one  of  the  largest,  with  equip- 
ments unexcelled. 


HE  eight  circular  staircases  which  con- 
nect the  reading  room  with  the  book- 
stack  and  extend  from  ground  floor  to 
top  tier  of  stack  in  the  library,  were  built  by 

The  L.  SCHREIBER  & SONS  CO. 
Iron  Works,  Cincinnati,  Ohio 


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A Fine  Set  of  Books  for  Your  Library 


The  Works  of  Catherine  Charlotte,  Lady  Jackson, 

Complete  in  Fourteen  Volumes. 

Old  Paris.  Its  Courts  and  Literary  Salons.  2 vols. 

The  Old  Regime.  Court,  Salons  AND  Theatres.  2 vols. 

The  Court  of  France  IN  the  Sixteenth  Century,  1514-1559.  2 vols. 

The  Last  of  the  Valois  AND  Accession  of  Henry  of  Navarre,  1559-1589 
2 vols. 

The  First  of  the  Bourbons,  1589-1595.  2 vols. 

The  French  Court  and  Society.  Reign  of  Louis  XVI  and  First  Empire- 
2 vols. 

The  Court  of  the  Tuileries,  from  THE  Restoration  TO  THE  Flight  OF  Louis 
Philippe.  2 vols. 

Of  this  gossipy  and  entertaining  series  of  French  Memoirs,  published  in  London  during  the  past  twenty 
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chosen  for  issuing  a new  edition.  The  typographical  errors  of  the  original  edition  have  been  corrected,  and  a 
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The  titles  of  this  celebrated  series  indicate  the  scope  of  Lady  Jackson’s  writings  which]  touch  on  different 
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xviii 


In  these  days , when  sensationalism  and  straining  after  effect  seem  to  be  prime  motives  in  journalism  and 
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— standards  set  by  Hawthorne , Emerson,  Lovjell,  Holmes , Longfellow,  Whittier , Parkman,  and  others  of  that 
illustrious  group  of  men  of  letters  — will  be  mamtainedwith  catholic  taste,  human  sympathy  and  trained  skill. 
It  deserves  to  have  conferred  upon  it  by  a convocation  of  its  contemporaries,  in  which  “ The  Outlook  ” would 
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xix 


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EDWARD  SIMMONS 

W.  B.  VAN  INGEN 

ELIHU  VEDDER 

H.  O.  WALKER 


The  Prints  are  published  in  various  sizes,  ranging  in  price  from  fifty  cents  to 
Five  Dollars. 

Illustrated  Catalogue  sent  upon  receipt  of  four  cents  in  stamps,  by 

CURTIS  & CAMERON 

Publishers, 

Opposite  Public  Library, 

BOSTON 


Pierce  Building, 


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BOSTON  PUBLIC  LIBRARY  (Copley  Square) , 

for  which  we  received  the  entire  contract,  consisting  of  Tables,  Catalogue  Cases  (with  our  patent  card 
holder),  Newspaper  Racks,  Periodical  Stands,  Desks,  Chairs,  etc. ; the 

SUFFOLK  COUNTY  COURT  HOUSE,  Boston.  NEWTON  CLUB  HOUSE,  Newton,  Mass. 

CARNEGIE  LIBRARY,  Pittsburgh,  Pa.  STATE  LAW  LIBRARY,  Concord,  N.  H. 

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Club  Houses  in  New  Bedford,  Taunton,  Charlestown  and  other  places. 


The  far-famed  “ Windsor  ” Chair,  now  in  use  in  the  Boston  Public  Library,  is  manufactured  solely  by  us. 


THE  MURAL  PAINTINGS 


IN  THE 

Boston  Public  Library 

EDWIN  A.  ABBEY.  The  Quest  of  the  Holy  Grail. 

JOHN  S.  SARGENT.  The  Triumph  of  Religion. 

PIERRE  PUVIS  DE  CHAVANNES.  The  Muses  Welcoming  the  Genius  of  Enlightenment,  and  the 
eight  panels  representing  Philosophy,  Astronomy,  History,  Chemistry,  Physics,  Pastoral 
Poetry.  Dramatic  Poetry,  Epic  Poetry. 

REPRODUCED  IN 

THE  COPLEY  PRINTS 

Descriptive  Catalogue  sent  upon  receipt  of  four  cents  in 
stamps  by  the  Publishers: 

Curtis  & Cameron 


PIERCE  BUILDING 
OPPOSITE  PUBLIC  LIBRARY 


Boston 


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